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UNITED STATES OF AMERICA. 




JOHN DRYDEN. 



S«atli'fi Ctnglist) Classics 



DRYDEN'S 



PALAMON AND ARCITE % * 



EDITED 

WITH NOTES AND CRITICAL SUGGESTIONS 
BY 

W. H..CRAWSHAW, A.M. 

Professor of English Literature in Colgate Universitv 



2nd COPY, ;i898 J 

2/ 



1898. 



BOSTON. U.S.A. 

D. C. HEATH & CO., PUBLISHERS 

1898 

ED- 






6651 



Copyright, 1898, 
By W. H. CRAWSHAW. 



TYPOGRAPHY BY J. S. CTX8HING & CO., NORWOOD, MASS 



I'RERSWORK BY ROCKWELL & CHURCHILL, IloSTON. 



PREFACE. 



Dryden's poem is placed first in this volume because it is 
with the poem that the student is first and chiefly concerned. 
The notes following are intended to be explanatory and sug- 
gestive, to aid the student in the understanding and appre- 
ciation of the poem. While the editor has endeavored to 
avoid too great fulness of annotation, he has also sought to 
avoid the opposite extreme of leaving the student to seek in 
vain for the meaning of an obscure passage. Time saved 
in understanding the language and allusions of the poem may* 
be more profitably spent in seeking to appreciate its literary 
qualities. Toward this end it is hoped that the suggestions 
for the study of the poem will serve as a welcome guide. 

Acknowledgments for valuable advice and suggestion are 
due to my friends and colleagues, Professor D. F. Estes, D.D., 
of Hamilton Theological Seminary, Professor John Greene, 
Ph.D., of Colgate University, and Professor E. W. Smith. 
A.M., of Colgate Academy. 

W. H. C. 

Hamilton, N.Y., January, 1898. 



Hear how Timotheus' vary'd lays surprise, 
And bid alternate passions fall and rise ! 
While at each change, the son of Libyan Jove 
Now burns with glory, and then melts with love; 
Now his fierce eyes with sparkling fury glow, 
Now sighs steal out, and tears begin to flow : 
Persians and Greeks like turns of nature found, 
And the world's victor stood subdu'd by sound ! 
The power of music all our hearts allow, 
And what Timotheus was, is Dryden now. 

Pope's Essay on Criticism. 



Waller was smooth; but Dryden taught to join 
The varying verse, the full-resounding line, 
The long majestic march, and energy divine 

Ev'n copious Dryden wanted, or forgot, 
The last and greatest art, the art to blot. 

Pope's First Epistle of the Second Book of 
Horace Imitated. 



CONTENTS. 

PAGE 

Dryden's Dedication i 

PalAx\ion and Arcite ; or, The Knight's Tale . . 7 

Notes 88 

John Dryden 118 

The Study of the Poem 122 

Dryden and Chaucer 137 

Dryden's Views on Chaucer ...... 142 



Behold, where Dryden's less presumptuous car, 

Wide o'er the fields of glory bear 

Two coursers of ethereal race, 

With necks in thunder clothed, and long-resounding pace. 

Hark, his hands the lyre explore ! 
Bright-eyed Fancy, hovering o'er, 
Scatters from her pictured urn 
Thoughts that breathe, and words that burn. 

Gray's The Progress of Poesy. 



DEDICATION 

TO HER GRACE THE DUCHESS OF 
ORMOND, 

WITH THE FOLLOWING POEM OF 

PALAMON AND ARCITE FROM CHAUCER. 

Madam, 

The bard who first adorned our native tongue 
Tuned to his British lyre this ancient song ; 
Which Homer might without a blush rehearse, 
And leaves a doubtful palm in Virgil's verse : 
He matched their beauties, where they most excel ; 
Of love sung better, and of arms as well. 

Vouchsafe, illustrious Ormond, to behold 
What power the charms of beauty had of old ; 
Nor wonder if such deeds of arms were done, 
Inspired by two fair eyes that sparkled like your own. i 

If Chaucer by the best idea wrought, 
And poets can divine each other's thought, 
The fairest nymph before his eyes he set ; 
And then the fairest was Plantagenet, 
Who three contending princes made her prize, 
And ruled the rival nations with her eyes ; 
Who left immortal trophies of her fame, 
And to the noblest order gave the name. 

Like her, of equal kindred to the throne, 
You keep her conquests, and extend your own : 2< 

B I 



2 DEDICATION 

As when the stars, in their ethereal race, 

At length have rolled around the liquid space, 

At certain periods they resume their place, 

From the same point of heaven their course advance, 

And move in measures of their former dance ; 

Thus, after length of ages, she returns, 

Restored in you, and the same place adorns ; 

Or you perform her office in the sphere, 

Born of her blood, and make a new Platonic year. 

O true Plantagenet, O race divine, 30 

(For beauty still is fatal to the line,) 
Had Chaucer lived that angel face to view, 
Sure he had drawn his Emily from you ; 
Or had you lived to judge the doubtful right, 
Your noble Palamon had been the knight ; 
And conquering Theseus from his side had sent 
Your generous lord, to guide the Theban government. 

Time shall accomplish that ; and I shall see 
A Palamon in him, in you an Emily. 

Already have the Fates your path prepared, 40 

And sure presage your future sway declared : 
When westward, like the sun, you took your way, 
And from benighted Britain bore the day, 
Blue Triton gave the signal from the shore, 
The ready Nereids heard, and swam before 
To smooth the seas ; a soft Etesian gale 
But just inspired, and gently swelled the sail ; 
Portunus took his turn, whose ample hand 
Heaved up the lightened keel, and sunk the sand, 
And steered the sacred vessel safe to land. 50 

The land, if not restrained, had met your way, 



TO THE DUCHESS OF ORMOND. 3 

Projected out a neck, and jutted to the sea. 
Hibernia, prostrate at your feet, adored 
In you the pledge of her expected lord, 
Due to her isle ; a venerable name ; 
His father and his grandsire known to fame ; 
Awed by that house, accustomed to command, 
The sturdy kerns in due subjection stand, 
Nor hear the reins in any foreign hand. 

At your approach, they crowded to the port ; 60 

And scarcely landed, you create a court : 
As Ormond's harbinger, to you they run, 
For Venus is the promise of the Sun. 

The waste of civil wars, their towns destroyed, 
Pales unhonoured, Ceres unemployed, 
Were all forgot ; and one triumphant day 
Wiped all the tears of three campaigns away. 
Blood, rapines, massacres, were cheaply bought, 
So mighty recompense your beauty brought. 
As when the dove returning bore the mark 70 

Of earth restored to the long-labouring ark, 
The relics of mankind, secure of rest, 
Oped every window to receive the guest, 
And the fair bearer of the message blessed : 
So, when you came, with loud repeated cries, 
The nation took an omen from your eyes, 
And God advanced his rainbow in the skies, 
To sign inviolable peace restored ; 
The saints with solemn shouts proclaimed the new accord. 

When at your second coming you appear, 80 

(For I foretell that millenary year) 
The sharpened share shall vex the soil no more, 



4 DEDICATION 

But earth unbidden shall produce her store ; 
The land shall laugh, the circling ocean smile, 
And Heaven's indulgence bless the holy isle. 

Heaven from all ages has reserved for you 
That happy clime, which venom never knew ; 
Or if it had been there, your eyes alone 
Have power to chase all poison, but their own. 

Now in this interval, which Fate has cast 90 

Betwixt your future glories and your past, 
This pause of power, 'tis Ireland's hour to mourn ; 
While England celebrates your safe return, 
By which you seem the seasons to command, 
And bring our summers back to their forsaken land. 

The vanquished isle our leisure must attend, 
Till the fair blessing we vouchsafe to send ; 
Nor can we spare you long, though often we may lend. 
The dove was twice employed abroad, before 
The world was dried, and she returned no more. 100 

Nor dare we trust so soft a messenger, 
New from her sickness, to that northern air ; 
Rest here awhile your lustre to restore, 
That they may see you, as you shone before ; 
For yet, the eclipse not wholly past, you wade 
Through some remains and dimness of a shade, 

A subject in his prince may claim a right, 
Nor suffer him with strength impaired to fight ; 
Till force returns, his ardour we restrain, 
And curb his warlike wish to cross the main. no 

Now past the danger, let the learned begin 
The inquiry, where disease could enter in ; 
How those malignant atoms forced their way, 



TO THE DUCHESS OF ORAIOND. 5 

What in the faultless frame they found to make their prey, 

Where every element was weighed so well, 

That Heaven alone, who mixed the mass, could tell 

Which of the four ingredients could rebel ; 

And where, imprisoned in so sweet a cage, 

A soul might well be pleased to pass an age. 

And yet the fine materials made it weak ; 120 

Porcelain, by being pure, is apt to break. 
Even to your breast the sickness durst aspire, 
And forced from that fair temple to retire, 
Profanely set the holy place on fire. 
In vain your lord, like young Vespasian, mourned, 
When the fierce flames the sanctuary burned ; 
And I prepared to pay in verses rude 
A most detested act of gratitude : 
Even this had been your Elegy, which now 
Is offered for your health, the table of my vow. 130 

Your angel sure our Morley's mind inspired, 
To find the remedy your ill required ; 
As once the Macedon, by Jove's decree, 
Was taught to dream an herb for Ptolemy : 
Or Heaven, which had such over-cost bestowed 
As scarce it could afford to flesh and blood, 
So liked the frame, he would not work anew, 
To save the charges of another you ; 
Or by his middle science did he steer, 
And saw some great contingent good appear, 140 

Well worth a miracle to keep you here, 
And for that end preserved the precious mould, 
Which all the future Ormonds was to hold ; 
And meditated, in his better mind, 



6 DEDICATION. 

An heir from you who may redeem the failing kind. 

Blessed be the power which has at once restored 
The hopes of lost succession to your lord ; 
Joy to the first and last of each degree, 
Virtue to courts, and, what I longed to see, 
To you the Graces, and the Muse to me. 150 

O daughter of the Rose, whose cheeks unite 
The differing titles of the Red and White ; 
Who heaven's alternate beauty well display, 
The blush of morning and the milky way ; 
Whose face is Paradise, but fenced from sin ; 
For God in either eye has placed a cherubin. 

All is your lord's alone ; even absent, he 
Employs the care of chaste Penelope. 
For him you waste in tears your widowed hours, 
For him your curious needle paints the flowers ; 160 

Such works of old imperial dames were taught, 
Such for Ascanius fair Elissa wrought. 

The soft recesses of your hours improve 
The three fair pledges of your happy love : 
All other parts of pious duty done, 
You owe your Ormond nothing but a son, 
To fill in future times his father's place, 
And wear the garter of his mother's race. 



PALAMON AND ARCITE, OR THE 
KNIGHT'S TALE; 

FROM CHAUCER. 

IN THREE BOOKS. 

— ♦ — 

BOOK I. 

In days of old there lived, of mighty fame, 
A valiant Prince, and Theseus was his name ; 
A chief, who more in feats of arms excelled, 
The rising nor the setting sun beheld. 
Of Athens he was lord ; much land he won, 
And added foreign countries to his crown. 
In Scythia with the warrior Queen he strove, 
Whom first by force he conquered, then by love ; 
He brought in triumph back the beauteous dame, 
With whom her sister, fair Emilia, came. 
With honour to his home let Theseus ride, 
With Love to friend, and Fortune for his guide, 
And his victorious army at his side. 
I pass their warlike pomp, their proud array, 
Their shouts, their songs, their welcome on the way ; 
But, were it not too long, I would recite 
The feats of Amazons, the fatal fight 
Betwixt the hardy Queen and hero Knight ; 
The town besieged, and how much blood it cost 

7 



8 PALAMON AND ARCITE— Book I. 

The female army, and the Athenian host ; 20 

The spousals of Hippolyta the Queen ; 
What tilts and tourneys at the feast were seen ; 
The storm at their return, the ladies' fear : 
But these and other things I must forbear. 
The field is spacious I design to sow, 
With oxen far unfit to draw the plough : 
The remnant of my tale is of a length 
To tire your patience, and to waste my strength 
And trivial accidents shall be forborne, 
That others may have time to take their turn, 30 

As was at first enjoined us by mine host, 
That he, whose tale is best and pleases most, 
Should win his supper at our common cost. 
And therefore where I left, I will pursue 
This ancient story, whether false or true, 
In hope it may be mended with a new. 
The Prince I mentioned, full of high renown, 
In this array drew near the Athenian town ; 
When, in his pomp and utmost of his pride 
Marching, he chanced to cast his eye aside, 40 

And saw a quire of mourning dames, who lay 
By two and two across the common way : 
At his approach they raised a rueful cry, 
And beat their breasts, and held their hands on high, 
Creeping and crying, till they seized at last 
His courser's bridle and his feet embraced. 
" Tell me," said Theseus, " what and whence you are, 
" And why this funeral pageant you prepare ? 
" Is this the welcome of my worthy deeds, 
"To meet my triumph in ill-omened weeds? 50 



PALAMON AND ARCITE — Book I. 9 

" Or envy you my praise, and would destroy 
" With grief my pleasures, and pollute my joy? 
" Or are you injured, and demand relief? 
" Name your request, and I will ease your grief." 

The most in years of all the mourning train 
Began ; but sounded first away for pain ; 
Then scarce recovered spoke : " Nor envy we 
" Thy great renown, nor grudge thy victory ; 
" 'Tis thine, O King, the afflicted to redress, 
" And fame has filled the world with thy success : 60 

" We wretched women sue for that alone, 
" Which of thy goodness is refused to none ; 
" Let fall some drops of pity on our grief, 
" If what we beg be just, and we deserve relief; 
"For none of us, who now thy grace implore, 
" But held the rank of sovereign queen before ; 
" Till, thanks to giddy Chance, which never bears 
" That mortal bliss should last for length of years, 
" She cast us headlong from our high estate, 
" And here in hope of thy return we wait, 70 

" And long have waited in the temple nigh, 
" Built to the gracious goddess Clemency. 
" But reverence thou the power whose name it bears, 
" Relieve the oppressed, and wipe the widows' tears. 
" I, wretched I, have other fortune seen, 
" The wife of Capaneus, and once a Queen ; 
" At Thebes he fell ; cursed be the fatal day ! 
" And all the rest thou seest in this array 
" To make their moan their lords in battle lost, 
" Before that town besieged by our confederate host. 80 
" But Creon, old and impious, who commands 



io PALAMON AND ARCITE — Book I. 

" The Theban city, and usurps the lands, 

" Denies the rites of funeral fires to those 

" Whose breathless bodies yet he calls his foes. 

" Unburned, unburied, on a heap they lie ; 

" Such is their fate, and such his tyranny ; 

"No friend has leave to bear away the dead, 

" But with their lifeless limbs his hounds are fed." 

At this she shrieked aloud ; the mournful train 

Echoed her grief, and grovelling on the plain, 90 

With groans, and hands upheld, to move his mind, 

Besought his pity to their helpless kind. 

The Prince was touched, his tears began to flow, 
And, as his tender heart would break in two, 
He sighed ; and could not but their fate deplore, 
So wretched now, so fortunate before. 
Then lightly from his lofty steed he flew, 
And raising one by one the suppliant crew, 
To comfort each, full solemnly he swore, 
That by the faith which knights to knighthood bore, 100 
And whate'er else to chivalry belongs, 
He would not cease, till he revenged their wrongs ; 
That Greece should see performed what he declared, 
And cruel Creon find his just reward. 
He said no more, but shunning all delay, 
Rode on, nor entered Athens on his way ; 
But left his sister and his queen behind, 
And waved his royal banner in the wind, 
Where in an argent field the God of War 
Was drawn triumphant on his iron car ; no 

Red was his sword, and shield, and whole attire, 
And all the godhead seemed to glow with fire ; 



PALAMON AND ARCITE — Book I. u 

Even the ground glittered where the standard flew, 

And the green grass was dyed to sanguine hue. 

High on his pointed lance, his pennon bore 

His Cretan fight, the conquered Minotaur : 

The soldiers shout around with generous rage, 

And in that victory their own presage. 

He praised their ardour, inly pleased to see 

His host, the flower of Grecian chivalry. 120 

All day he marched, and all the ensuing night, 

And saw the city with returning light. 

The process of the war I need not tell, 

How Theseus conquered, and how Creon fell ; 

Or after, how by storm the walls were won, 

Or how the victor sacked and burned the town ; 

How to the ladies he restored again 

The bodies of their lords in battle slain ; 

And with what ancient rites they were interred ; 

All these to fitter time shall be deferred : 130 

I spare the widows' tears, their woful cries, 

And howling at their husbands' obsequies ; 

How Theseus at these funerals did assist, 

And with what gifts the mourning dames dismissed. 

Thus when the victor chief had Creon slain, 
And conquered Thebes, he pitched upon the plain 
His mighty camp, and when the day returned, 
The country wasted and the hamlets burned, 
And left the pillagers, to rapine bred, 
Without control to strip and spoil the dead. 140 

There, in a heap of slain, among the rest 
Two youthful knights they found beneath a load oppressed 
Of slaughtered foes, whom first to death they sent, 



12 PALAMON AND ARCITE — Book I. 

The trophies of their strength, a bloody monument. 

Both fair, and both of royal blood they seemed, 

Whom kinsmen to the crown the heralds deemed ; 

That day in equal arms they fought for fame ; 

Their swords, their shields, their surcoats were the same : 

Close by each other laid they pressed the ground, 

Their manly bosoms pierced with many a grisly wound ; 150 

Nor well alive nor wholly dead they were, 

But some faint signs of feeble life appear ; 

The wandering breath was on the wing to part, 

Weak was the pulse, and hardly heaved the heart. 

These two were sisters' sons ; and Arcite one, 

Much famed in fields, with valiant Palamon. 

From these their costly arms the spoilers rent, 

And softly both conveyed to Theseus' tent : 

Whom, known of Creon's line and cured with care, 

He to his city sent as prisoners of the war ; 160 

Hopeless of ransom, and condemned to lie 

In durance, doomed a lingering death to die. 

This done, he marched away with warlike sound, 
And to his Athens turned with laurels crowned, 
Where happy long he lived, much loved, and more 

renowned. 
But in a tower, and never to be loosed, 
The woful captive kinsmen are enclosed. 

Thus year by year they pass, and day by day, 
Till once ('twas on the morn of cheerful May) 
The young Emilia, fairer to be seen 170 

Than the fair lily on the flowery green, 
More fresh than May herself in blossoms new, 
(For with the rosy colour strove her hue,) 



PALAMON AND ARCITE — Book I. 13 

Waked, as her custom was, before the day, 

To do the observance due to sprightly May ; 

For sprightly May commands our youth to keep 

The vigils of her night, and breaks their sluggard sleep; 

Each gentle breast with kindly warmth she moves ; 

Inspires new flames, revives extinguished loves. 

In this remembrance Emily ere day 1S0 

Arose, and dressed herself in rich array ; 

Fresh as the month, and as the morning fair, 

Adown her shoulders fell her length of hair : 

A ribband did the braided tresses bind, 

The rest was loose, and wantoned in the wind : 

Aurora had but newly chased the night, 

And purpled o'er the sky with blushing light, 

When to the garden-walk she took her way, 

To sport and trip along in cool of day, 

And offer maiden vows in honour of the May. 190 

At every turn she made a little stand, 
And thrust among the thorns her lily hand 
To draw the rose ; and every rose she drew. 
She shook the stalk, and brushed away the dew ; 
Then party-coloured flowers of white and red 
She wove, to make a garland for her head : 
This done, she sung and carolled out so clear, 
That men and angels might rejoice to hear ; 
Even wondering Philomel forgot to sing, 
And learned from her to welcome in the spring. 200 

The tower, of which before was mention made, 
Within whose keep the captive knights were laid, 
Built of a large extent, and strong withal, 
Was one partition of the palace wall : 



14 PALAMON AND ARCITE — Book I. 

The garden was enclosed within the square, 
Where young Emilia took the morning air. 

It happened Palamon, the prisoner knight, 
Restless for woe, arose before the light, 
And with his jailor's leave desired to breathe 
An air more wholesome than the damps beneath. 210 

This granted, to the tower he took his way, 
Cheered with the promise of a glorious day ; 
Then cast a languishing regard around, 
And saw with hateful eyes the temples crowned 
With golden spires, and all the hostile ground. 
He sighed, and turned his eyes, because he knew 
'Twas but a larger jail he had in view ; 
Then looked below, and from the castle's height 
Beheld a nearer and more pleasing sight ; 
The garden, which before he had not seen, 220 

In spring's new livery clad of white and green, 
Fresh flowers in wide parterres, and shady walks between. 
This viewed, but not enjoyed, with arms across 
He stood, reflecting on his country's loss ; 
Himself an object of the public scorn, 
And often wished he never had been born. 
At last, (for so his destiny required,) 
With walking giddy, and with thinking tired, 
He through a little window cast his sight, 
Though thick of bars, that gave a scanty light ; 230 

But even that glimmering served him to descry 
The inevitable charms of Emily. 

Scarce had he seen, but, seized with sudden smart, 
Stung to the quick, he felt it at his heart ; 
Struck blind with overpowering light he stood, 



PALAMON AND ARCITE — Book I. 15 

Then started back amazed, and cried aloud. 

Young Arcite heard ; and up he ran with haste, 
To help his friend, and in his arms embraced ; 
And asked him why he looked so deadly wan, 
And whence, and how, his change of cheer began ? 240 
Or who had done the offence? " But if," said he, 
" Your grief alone is hard captivity, 
" For love of Heaven with patience undergo 
" A cureless ill, since Fate will have it so : 
" So stood our horoscope in chains to lie, 
" And Saturn in the dungeon of the sky, 
" Or other baleful aspect, ruled our birth, 
" When all the friendly stars were under earth ; 
" Whate'er betides, by Destiny 'tis done ; 
" And better bear like men than vainly seek to shun." 250 
" Nor of my bonds," said Palamon again, 
" Nor of unhappy planets I complain ; 
" But when my mortal anguish caused my cry, 
" That moment I was hurt through either eye ; 
" Pierced with a random shaft, I faint away, 
" And perish with insensible decay : 
" A glance of some new goddess gave the wound, 
" Whom, like Actaeon, unaware I found. 
" Look how she walks along yon shady space ; 
" Not Juno moves with more majestic grace, 260 

" And all the Cyprian queen is in her face. 
" If thou art Venus, (for thy charms confess 
" That face was formed in heaven,) nor art thou less, 
" Disguised in habit, undisguised in shape, 
" O help us captives from our chains to scape ! 
" But if our doom be past in bonds to lie 



16 PALAMON AND ARCITE — Book I. 

" For life, and in a loathsome dungeon die, 

" Then be thy wrath appeased with our disgrace, 

" And show compassion to the Theban race, 

"Oppressed by tyrant power !" — While yet he spoke, 270 

Arcite on Emily had fixed his look ; 

The fatal dart a ready passage found 

And deep within his heart infixed the wound : 

So that if Palamon were wounded sore, 

Arcite was hurt as much as he or more : 

Then from his inmost soul he sighed, and said, 

" The beauty I behold has struck me dead : 

" Unknowingly she strikes, and kills by chance ; 

" Poison is in her eyes, and death in every glance. 

" Oh, I must ask ; nor ask alone, but move 280 

" Her mind to mercy, or must die for love." 

Thus Arcite : and thus Palamon replies, 
(Eager his tone, and ardent were his eyes,) 
" Speakst thou in earnest, or in jesting vein?" 
"Jesting," said Arcite, " suits but ill with pain." 
" It suits far worse," (said Palamon again, 
And bent his brows,) " with men who honour weigh, 
"Their faith to break, their friendship to betray ; 
" But worst with thee, of noble lineage born, 
" My kinsman, and in arms my brother sworn. 290 

" Have we not plighted each our holy oath, 
" That one should be the common good of both ; 
" One soul should both inspire, and neither prove 
" His fellow's hindrance in pursuit of love? 
" To this before the Gods we gave our hands, 
" And nothing but our death can break the bands. 
" This binds thee, then, to further my design, 



PALAMON AND ARCITE — Book I. 17 

" As I am bound by vow to further thine : 

" Nor canst, nor darest thou, traitor, on the plain 

" Appeach my honour, or thy own maintain, 300 

" Since thou art of my council, and the friend 

14 Whose faith I trust, and on whose care depend. 

" And wouldst thou court my lady's love, which I 

" Much rather than release, would choose to die? 

" But thou, false Arcite, never shalt obtain 

" Thy bad pretence ; I told thee first my pain : 

" For first my love began ere thine was born ; 

" Thou as my council, and my brother sworn, 

" Art bound to assist my eldership of right, 

" Or justly to be deemed a perjured knight." 310 

Thus Palamon : but Arcite with disdain 
In haughty language thus replied again : 
" Forsworn thyself : the traitor's odious name 
" I first return, and then disprove thy claim. 
" If love be passion, and that passion nurst 
" With strong desires. I loved the lady first. 
" Canst thou pretend desire, whom zeal inflamed 
" To worship, and a power celestial named ? 
" Thine was devotion to the blest above, 
" I saw the woman, and desired her love ; 320 

" First owned my passion, and to thee commend 
" The important secret, as my chosen friend. 
" Suppose (which yet I grant not) thy desire 
" A moment elder than my rival fire ; 
" Can chance of seeing first thy title prove ? 
" And knowst thou not, no law is made for love ? 
" Law is to things which to free choice relate ; 
" Love is not in our choice, but in our fate ; 



18 PALAMON AND ARCITE — Book I. 

" Laws are but positive ; love's power we see 

" Is Nature's sanction, and her first decree. 330 

" Each day we break the bond of human laws 

" For love, and vindicate the common cause. 

" Laws for defence of civil rights are placed, 

" Love throws the fences down, and makes a general waste. 

" Maids, widows, wives without distinction fall ; 

" The sweeping deluge, love, comes on and covers all. 

" If then the laws of friendship I transgress, 

" I keep the greater, while I break the less ; 

" And both are mad alike, since neither can possess. 

" Both hopeless to be ransomed, never more 340 

" To see the sun, but as he passes o'er. 

" Like T^Esop's hounds contending for the bone, 

" Each pleaded right, and would be lord alone ; 

" The fruitless fight continued all the day, 

" A cur came by and snatched the prize away. 

" As courtiers therefore justle for a grant, 

" And when they break their friendship, plead their want, 

" So thou, if Fortune will thy suit advance, 

" Love on, nor envy me my equal chance : 

" For I must love, and am resolved to try 350 

" My fate, or failing in the adventure die." 

Great was their strife, which hourly was renewed, 
Till each with mortal hate his rival viewed : 
Now friends no more, nor walking hand in hand ; 
But when they met, they made a surly stand. 
And glared like angry lions as they passed, 
And wished that every look might be their last. 

It chanced at length, Pirithous came to attend 
This worthy Theseus, his familiar friend : 



PALAMON AND ARCITE — Book I. 19 

Their love in early infancy began, 360 

And rose as childhood ripened into man, 
Companions of the war ; and loved so well, 
That when one died, as ancient stories tell, 
His fellow to redeem him went to hell. 

But to pursue my tale : to welcome home 
His warlike brother is Pirithous come : 
Arcite of Thebes was known in arms long since, 
And honoured by this young Thessalian prince. 
Theseus, to gratify his friend and guest, 
Who made our Arcite's freedom his request, 370 

Restored to liberty the captive knight, 
But on these hard conditions I recite : 
That if hereafter Arcite should be found 
* Within the compass of Athenian ground, 
By day or night, or on whate'er pretence, 
His head should pay the forfeit of the offence. 
To this Pirithous for his friend agreed, 
And on his promise was the prisoner freed. 

Unpleased and pensive hence he takes his way, 
At his own peril ; for his life must pay. 380 

Who now but Arcite mourns his bitter fate, 
Finds his dear purchase, and repents too late ? 
" What have I gained," he said, " in prison pent, 
" If I but change my bonds for banishment? 
" And banished from her sight, I suffer more 
" In freedom than I felt in bonds before ; 
" Forced from her presence and condemned to live, 
" Unwelcome freedom and unthanked reprieve : 
" Heaven is not but where Emily abides, 
" And where she's absent, all is hell besides. 390 



20 PALAMON AND ARCITE — Book I. 

" Next to my day of birth, was that accurst 

" Which bound my friendship to Pirithous first : 

" Had I not known that prince, I still had been 

" In bondage, and had still Emilia seen : 

" For though I never can her grace deserve, 

" Tis recompense enough to see and serve. 

" O Palamon, my kinsman and my friend, 

" How much more happy fates thy love attend ! 

" Thine is the adventure, thine the victory, 

" Well has thy fortune turned the dice for thee : 400 

" Thou on that angel's face mayest feed thy eyes, 

" In prison, no ; but blissful paradise ! 

" Thou daily seest that sun of beauty shine, 

" And lovest at least in love's extremest line. 

" I mourn in absence, love's eternal night ; 

" And who can tell but since thou hast her sight, 

" And art a comely, young, and valiant knight, 

" Fortune (a various power) may cease to frown, 

" And by some ways unknown thy wishes crown ? 

" But I, the most forlorn of human kind, 410 

" Nor help can hope nor remedy can find ; 

" But doomed to drag my loathsome life in care, 

" For my reward, must end it in despair. 

" Fire, water, air, and earth, and force of fates 

" That governs all, and Heaven that all creates, 

" Nor art, nor Nature's hand can ease my grief; 

" Nothing but death, the wretch's last relief: 

"iThen farewell youth, and all the joys that dwell 

"With youth and life, and life itself, farewell ! 

" But why, alas ! do mortal men in vain 420 

" Of Fortune, Fate, or Providence complain? 



PALAMON AND ARCITE — Book I. 21 

" God gives us what he knows our wants require, 
" And better things than those which we desire : 
" Some pray for riches ; riches they obtain ; 
" But, watched by robbers, for their wealth are slain ; 
" Some pray from prison to be freed ; and come, 
" When guilty of their vows, to fall at home ; 
" Murdered by those they trusted with their life, 
" A favoured servant or a bosom wife. 
" Such dear-bought blessings happen every day, 430 

" Because we know not for what things to pray. 
• " Like drunken sots about the streets we roam : 
" Well knows the sot he has a certain home, 
" Yet knows not how to find the uncertain place, 
" And blunders on, and staggers every pace. 
" Thus all seek happiness ; but few can find,! 
" For far the greater part of men are blind. 
" This is my case, who thought our utmost good 
" Was in one word of freedom understood : 
" The fatal blessing came : from prison free, 440 

" I starve abroad, and lose the sight of Emily." 

Thus Arcite : but if Arcite thus deplore 
His sufferings, Palamon yet suffers more. 
For when he knew his rival freed and gone, 
He swells with wrath ; he makes outrageous moan ; 
He frets, he fumes, he stares, he stamps the ground ; 
The hollow tower with clamours rings around : 
With briny tears he bathed his fettered feet, 
And dropped all o'er with agony of sweat. 
" Alas ! " he cried, " I, wretch, in prison pine, 450 

" Too happy rival, while the fruit is thine : 
(t Thou livest at large, thou drawest thy native air, 



22 PALAMON AND ARCITE — Book I. 

" Pleased with thy freedom, proud of my despair : 
" Thou mayest, since thou hast youth and courage 

joined, 
" A sweet behaviour and a solid mind, 
" Assemble ours, and all the Theban race, 
" To vindicate on Athens thy disgrace ; 
" And after (by some treaty made) possess 
" Fair Emily, the pledge of lasting peace. 
" So thine shall be the beauteous prize, while I 460 

" Must languish in despair, in prison die. 
" Thus ail the advantage of the strife is thine, 
" Thy portion double joys, and double sorrows mine." 

The rage of jealousy then fired his soul, 
And his face kindled like a burning coal : 
Now cold despair, succeeding in her stead, 
To livid paleness turns the glowing red. 
His blood, scarce liquid, creeps within his veins, 
Like water which the freezing wind constrains. 
Then thus he said : " Eternal Deities, 47° 

" Who rule the world with absolute decrees, 
" And write whatever time shall bring to pass 
" With pens of adamant on plates of brass ; 
" What is the race of human kind your care 
" Beyond what all his fellow-creatures are ? 
" He with the rest is liable to pain, 
" And like the sheep, his brother-beast, is slain. 
" Cold, hunger, prisons, ills without a cure, 
" All these he must, and guiltless oft, endure ; 
" Or does your justice, power, or prescience fail, 480 

" When the good suffer and the bad prevail? 
" What worse to wretched virtue could befall, 



PALAMON AND ARCITE — Book I. 23 

" If Fate or giddy Fortune governed all ? 

" Nay, worse than other beasts is our estate : 

" Them, to pursue their pleasures, you create ; 

" We, bound by harder laws, must curb our will, 

" And your commands, not our desires, fulfil : 

" Then, when the creature is unjustly slain, 

" Yet, after death at least, he feels no pain : 

" But man, in life surcharged with woe before, 490 

" Not freed when dead, is doomed to suffer more. 

" A serpent shoots his sting at unaware : 

" An ambushed thief forelays a traveller ; 

" The man lies murdered, while the thief and 

snake, 
" One gains the thickets, and one thrids the brake. 
" This let divines decide ; but well I know, 
"Just or unjust, I have my share of woe : 
" Through Saturn seated in a luckless place, 
" And Juno's wrath that persecutes my race ; 
" Or Mars and Venus in a quartil move 500 

"My pangs of jealousy for Arcite's love." 

Let Palamon oppressed in bondage mourn, 
While to his exiled rival we return. 
By this the sun, declining from his height, 
The day had shortened to prolong the night : 
The lengthened night gave length of misery, 
Both to the captive lover and the free : 
For Palamon in endless prison mourns, 
And Arcite forfeits life if he returns ; 
The banished never hopes his love to see, 510 

Nor hopes the captive lord his liberty. 
'Tis hard to say who suffers greater pains; 



24 PALAMON AND ARCITE — Book I. 

One sees his love, but cannot break his chains ; 
One free, and all his motions uncontrolled, 
Beholds whate'er he would but what he would 

behold. 
Judge as you please, for I will haste to tell 
What fortune to the banished knight befell. 
When Arcite was to Thebes returned again, 
The loss of her he loved renewed his pain ; 
What could be worse than never more to see 520 

His life, his soul, his charming Emily? 
He raved with all the madness of despair, 
He roared, he beat his breast, he tore his hair. 
Dry sorrow in his stupid eyes appears, 
For wanting nourishment, he wanted tears ; 
His eyeballs in their hollow sockets sink, 
Bereft of sleep ; he loathes his meat and drink ; 
He withers at his heart, and looks as wan 
As the pale spectre of a murdered man : 
That pale turns yellow, and his face receives 530 

The faded hue of sapless boxen leaves ; 
In solitary groves he makes his moan, 
Walks early out, and ever is alone ; 
Nor, mixed in mirth, in youthful pleasure shares, 
But sighs when songs and instruments he hears. 
His spirits are so low, his voice is drowned ; 
He hears as from afar, or in a swound, 
Like the deaf murmurs of a distant sound : . 
Uncombed his locks, and squalid his attire, 
Unlike the trim of love and gay desire ; 540 

But full of musefnl mopings, which presage 
The loss of reason and conclude in rage. 



PALAMON AND ARCITE — Book I. 25 

This when he had endured a year and more, 
Now wholly changed from what he was before, 
It happened once, that, slumbering as he lay, 
He dreamt (his dream began at break of day) 
That Hermes o'er his head in air appeared, 
And with soft words his drooping spirits cheered ; 
His hat adorned with wings disclosed the god, 
And in his hand he bore the sleep-compelling rod ; 550 
Such as he seemed, when, at his sire's command, 
On Argus' head he laid the snaky wand. 
" Arise," he said, " to conquering Athens go ; 
"There Fate appoints an end of all thy woe." 
The fright awakened Arcite with a start, 
Against his bosom bounced his heaving heart; 
But soon he said, with scarce recovered breath, 
" And thither will I go to meet my death, 
" Sure to be slain \ but death is my desire, 
"Since in Emilia's sight I shall expire." 560 

By chance he spied a mirror while he spoke, 
And gazing there beheld his altered look : 
Wondering, he saw his features and his hue 
So much were changed, that scarce himself he knew. 
A sudden thought then starting in his mind, 
"Since I in Arcite cannot Arcite find, 
" The world may search in vain with all their eyes, 
" But never penetrate through this disguise. 
" Thanks to the change which grief and sickness give, 
" In low estate I may securely live, 570 

"And see, unknown, my mistress day by day." 
He said, and clothed himself in coarse array, 
A labouring hind in show ; then forth he went, 



26 PALAMON AND ARCITE — Book I. 

And to the Athenian towers his journey bent : 

One squire attended in the same disguise, 

Made conscious of his master's enterprise. 

Arrived at Athens, soon he came to court, 

Unknown, unquestioned in that thick resort : 

Proffering for hire his service at the gate, 

To drudge, draw water, and to run or wait. 580 

So fair befell him, that for little gain 
He served at first Emilia's chamberlain ; 
And, watchful all advantages to spy, 
Was still at hand, and in his master's eye ; 
And as his bones were big, and sinews strong, 
Refused no toil that could to slaves belong; 
But from deep wells with engines water drew, 
And used his noble hands the wood to hew. 
He passed a year at least attending thus 
On Emily, and called Philostratus. 590 

But never was there man of his degree 
So much esteemed, so well beloved as he. 
So gentle of condition was he known, 
That through the court his courtesy was blown : 
All think him worthy of a greater place, 
And recommend him to the royal grace ; 
That, exercised within a higher sphere, 
His virtues more conspicuous might appear. 
Thus by the general voice was Arcite praised, 
And by great Theseus to high favour raised ; 600 

Among his menial servants first enrolled, 
And largely entertained with sums of gold : 
Besides what secretly from Thebes was sent, 
Of his own income and his annual rent. 



PALAMON AND ARCITE — Book I. 27 

This well employed, he purchased friends and fame, 

But cautiously concealed from whence it came. 

Thus for three years he lived with large increase 

In arms of honour, and esteem in peace ; 

To Theseus' person he was ever near, 

And Theseus for his virtues held him dear. 610 



BOOK II. 

While Arcite lives in bliss, the story turns 

Where hopeless Palamon in prison mourns. 

For six long years immured, the captive knight 

Had dragged his chains, and scarcely seen the light : 

Lost liberty and love at once he bore ; 

His prison pained him much, his passion more : 

Nor dares he hope his fetters to remove, 

Nor ever wishes to be free from love. 

But when the sixth revolving year was run, 
And May within the Twins received the sun, 620 

Were it by Chance, or forceful Destiny, 
Which forms in causes first whate'er shall be, 
Assisted by a friend one moonless night, 
This Palamon from prison took his flight : 
A pleasant beverage he prepared before 
Of wine and honey mixed, with added store 
Of opium ; to his keeper this he brought, 
Who swallowed unaware the sleepy draught, 
And snored secure till morn, his senses bound 
In slumber, and in long oblivion drowned. 630 

Short was the night, and careful Palamon 
Sought the next covert ere the rising sun. 
A thick-spread forest near the city lay, 
To this with lengthened strides he took his way, 
(For far he could not fly, and feared the day.) 
Safe from pursuit, he meant to shun the light, 

28 



PALAMON AND ARCITE — Book II. 29 

Till the brown shadows of the friendly night 

To Thebes might favour his intended flight. 

When to his country come, his next design 

Was all the Theban race in arms to join, 640 

And war on Theseus, till he lost his life, 

Or won the beauteous Emily to wife. 

Thus while his thoughts the lingering day beguile, 

To gentle Arcite let us turn our style ; 

Who little dreamt how nigh he was to care, 

Till treacherous fortune caught him in the snare. 

The morning lark, the messenger of day, 

Saluted in her song the morning gray ; 

And soon the sun arose with beams so bright, 

That all the horizon laughed to see the joyous sight ; 650 

He with his tepid rays the rose renews, 

And licks the dropping leaves, and dries the dews ; 

When Arcite left his bed, resolved to pay 

Observance to the month of merry May : 

Forth on his fiery steed betimes he rode, 

That scarcely prints the turf on which he trod : 

At ease he seemed, and prancing o'er the plains, 

Turned only to the grove his horse's reins, 

The grove I named before, and, lighting there, 

A woodbine garland sought to crown his hair ; 660 

Then turned his face against the rising day, 

And raised his voice to welcome in the May : 

" For thee, sweet month, the groves green liveries wear, 
" If not the first, the fairest of the year : 
" For thee the Graces lead the dancing hours, 
" And Nature's ready pencil paints the flowers : 
" When thy short reign is past, the feverish sun 



3 o PALAMON AND ARCITE — Book II. 

" The sultry tropic fears, and moves more slowly on. 
" So may thy tender blossoms fear no blight, 
" Nor goats with venomed teeth thy tendrils bite, 670 

" As thou shalt guide my wandering feet to find 
"The fragrant greens I seek, my brows to bind." 

His vows addressed, within the grove he strayed, 
Till Fate or Fortune near the place conveyed 
His steps where secret Palamon was laid. 
Full little thought of him the gentle knight, 
Who, flying death, had there concealed his flight, 
In brakes and brambles hid, and shunning mortal sight ; 
And less he knew him for his hated foe, 
But feared him as a man he did not know. 680 

But as it has been said of ancient years, 
That fields are full of eyes and woods have ears, 
For this the wise are ever on their guard, 
For unforeseen, they say, is unprepared. 
Uncautious Arcite thought himself alone, 
And less than all suspected Palamon, 
Who, listening, heard him, while he searched the grove, 
And loudly sung his roundelay of love : 
But on the sudden stopped, and silent stood, 
As lovers often muse, and change their mood ; 690 

Now high as heaven, and then as low as hell, 
Now up, now down, as buckets in a well : 
For Venus, like her day, will change her cheer, 
And seldom shall we see a Friday clear. 
Thus Arcite, having sung, with altered hue 
Sunk on the ground, and from his bosom drew 
A desperate sigh, accusing Heaven and Fate, 
And angry Juno's unrelenting hate : 



PALAMON AND ARCITE — Book II. 31 

" Cursed be the day when first I did appear ; 
" Let it be blotted from the calendar, 700 

" Lest it pollute the month, and poison all the year. 
" Still will the jealous Queen pursue our race? 
" Cadmus is dead, the Theban city was : 
" Yet ceases not her hate ; for all who come 
" From Cadmus are involved in Cadmus' doom. 
" I suffer for my blood : unjust decree, 
" That punishes another's crime on me. 
" In mean estate I serve my mortal foe, 
" The man who caused my country's overthrow. 
" This is not all • for Juno, to my shame, 710 

" Has forced me to forsake my former name ; 
" Arcite I was, Philostratus I am. 
" That side of heaven is all my enemy : 
" Mars ruined Thebes ; his mother ruined me. 
" Of all the royal race remains but one 
"Besides myself, the unhappy Palamon, 
" Whom Theseus holds in bonds and will not free ; 
"Without a crime, except his kin to me. 
" Yet these and all the rest I could endure ; 
" But love's a malady without a cure : 720 

" Fierce Love has pierced me with his fiery dart, 
" He fries within, and hisses at my heart. 
" Your eyes, fair Emily, my fate pursue ; 
" I suffer for the rest, I die for you. 
. " Of such a goddess no time leaves record, 
" Who burned the temple where she was adored : 
" And let it burn, I never will complain, 
" Pleased with my sufferings, if you knew my pain." 
At this a sickly qualm his heart assailed, 



32 PALAMON AND ARCITE — Book 11. 

His ears ring inward, and his senses failed. 730 

No word missed Palamon of all he spoke ; 

But soon to deadly pale he changed his look : 

He trembled every limb, and felt a smart, 

As if cold steel had glided through his heart ; 

Nor longer stayed, but starting from his place, 

Discovered stood, and showed his hostile face : 

" False traitor, Arcite, traitor to thy blood, 
" Bound by thy sacred oath to seek my good, 
" Now art thou found forsworn for Emily, 
" And darest attempt her love, for whom I die. 740 

" So hast thou cheated Theseus with a wile, 
" Against thy vow, returning to beguile 
" Under a borrowed name : as false to me, 
"So false thou art to him who set thee free. 
" But rest assured, that either thou shalt die, 
" Or else renounce thy claim in Emily ; 
" For though unarmed I am, and, freed by chance, 
" Am here without my sword or pointed lance, 
" Hope not, base man, unquestioned hence to go, 
" For I am Palamon, thy mortal foe." 750 

Arcite, who heard his tale and knew the man, 
His sword unsheathed, and fiercely thus began : 
" Now, by the gods who govern heaven above, 
" Wert thou not weak with hunger, mad with love, 
"That word had been thy last ; or in this grove 
" This hand should force thee to renounce thy love : 
" The surety which I gave thee I defy : 
" Fool, not to know that love endures no tie, 
" And Jove but laughs at lovers' perjury. 
" Know, I will serve the fair in thy despite ; 760 



PA LAM ON AND A K CITE— Book 11. 33 

" But since thou art my kinsman and a knight, 

" Here, have my faith, to-morrow in this grove 

"Our arms shall plead the titles of our love : 

" And Heaven so help my right, as I alone 

" Will come, and keep the cause and quarrel both unknown, 

" With arms of proof both for myself and thee ; 

" Choose thou the best, and leave the worst to me. 

" And, that at better ease thou mayest abide, 

" Bedding and clothes 1 will this night provide, 

" And needful sustenance, that thou mayest be 770 

"A conquest better won, and worthy me." 

His promise Palamon accepts ; but prayed, 

To keep it better than the first he made. 

Thus fair they parted till the morrow's dawn ; 

For each had laid his plighted faith to pawn. 

Oh Love ! thou sternly dost thy power maintain, 

And wilt not bear a rival in thy reign ! 

Tyrants and thou all fellowship disdain. 

This was in Arcite proved and Palamon : 

Both in despair, yet each would love alone. 7S0 

Arcite returned, and, as in honour tied, 

His foe with bedding and with food supplied ; 

Then, ere the day, two suits of armour sought, 

Which borne before him on his steed he brought : 

Both were of shining steel, and wrought so pure 

As might the strokes of two such arms endure. 

Now, at the time, and in the appointed place, 

The challenger and challenged, face to face, 

Approach ; each other from afar they knew, 

And from afar their hatred changed their hue. 790 

So stands the Thracian herdsman with his spear, 



34 PALAMON AND ARCITE — Book Ii. 

Full in the gap, and hopes the hunted bear, 

And hears him rustling in the wood, and sees 

His course at distance by the bending trees : 

And thinks, Here comes my mortal enemy, 

And either he must fall in fight, or I : 

This while he thinks, he lifts aloft his dart ; 

A generous chillness seizes every part, 

The veins pour back the blood, and fortify the heart. 

Thus pale they meet ; their eyes with fury burn ; Soo 
None greets, for none the greeting will return ; 
But in dumb surliness each armed with care 
His foe professed, as brother of the war ; 
Then both, no moment lost, at once advance 
Against each other, armed with sword and lance : 
They lash, they foin, they pass, they strive to bore 
Their corslets, and the thinnest parts explore. 
Thus two long hours in equal arms they stood, 
And wounded, wound, till both were bathed in blood ; 
And not a foot of ground had either got, 810 

As if the world depended on the spot. 
Fell Arcite like an angry tiger fared, 
And like a lion Palamon appeared : 
Or, as two boars whom love to battle draws, 
With rising bristles and with frothy jaws, 
Their adverse breasts with tusks oblique they wound ; 
With grunts and groans the forest rings around. 
So fought the knights, and fighting must abide, 
Till Fate an umpire sends their difference to decide. 
The power that ministers to God's decrees, 820 

And executes on earth what Heaven foresees, 
Called Providence, or Chance, or Fatal sway, 



PALAMON AND ARCITE — Book II. 35 

Comes with resistless force, and finds or makes her wav. 

Nor kings, nor nations, nor united power 

One moment can retard the appointed hour ; 

And some one day, some wondrous chance appears, 

Which happened not in centuries of years : 

For sure, whate'er we mortals hate or love 

Or hope or fear depends on powers above : 

They move our appetites to good or ill, 330 

And by foresight necessitate the will. 

In Theseus this appears, whose youthful joy 

Was beasts of chase in forests to destroy ; 

This gentle knight, inspired by jolly May, 

Forsook his easy couch at early day, 

And to the wood and wilds pursued his way. 

Beside him rode Hippolyta the queen, 

And Emily attired in lively green, 

With horns and hounds and all the tuneful cry, 

To hunt a royal hart within the covert nigh : 840 

And, as he followed Mars before, so now 

He serves the goddess of the silver bow. 

The way that Theseus took was to the wood, 

Where the two knights in cruel battle stood : 

The laund on which they fought, the appointed place 

In which the uncoupled hounds began the chase. 

Thither forth-right he rode to rouse the prey, 

That shaded by the fern in harbour lay ; 

And thence dislodged, was wont to leave the wood 

For open fields, and cross the crystal flood. S50 

Approached, and looking underneath the sun, 

He saw proud Arcite and fierce Palamon, 

In mortal battle doubling blow on blow ; 



36 PALAMON AND ARCITE — Book II. 

Like lightning flamed their falchions to and fro, 

And shot a dreadful gleam ; so strong they strook, 

There seemed less force required to fell an oak. 

He gazed with wonder on their equal might, 

Looked eager on, but knew not either knight. 

Resolved to learn, he spurred his fiery steed 

With goring rowels to provoke his speed. 860 

The minute ended that began the race, 

So soon he was betwixt them on the place ; 

And with his -sword unsheathed, on pain of life 

Commands both combatants to cease their strife ; 

Then with imperious tone pursues his threat : 

" What are you ? why in arms together met ? 

" How dares your pride presume against my laws, 

" As in a listed field to fight your cause, 

" Unasked the royal grant ; no marshal by, 

" As knightly rites require, nor judge to try ? " 870 

Then Palamon, with scarce recovered breath, 

Thus hasty spoke : " We both deserve the death, 

" And both would die ; for look the world around, 

" A pair so wretched is not to be found. 

" Our life's a load ; encumbered with the charge, 

" W T e long to set the imprisoned soul at large. 

" Now, as thou art a sovereign judge, decree 

" The rightful doom of death to him and me ; 

" Let neither find thy grace, for grace is cruelty. 

" Me first, O kill me first, and cure my woe ; 880 

"Then sheath the sword of justice on my foe ; 

" Or kill him first, for when his name is heard, 

" He foremost will receive his due reward. 

" Arcite of Thebes is he, thy mortal foe, 



PALAMON AND ARCITE — Book II. 37 

" On whom thy grace did liberty bestow ; 

" But first contracted, that, if ever found 

" By day or night upon the Athenian ground, 

" His head should pay the forfeit ; see returned 

" The perjured knight, his oath and honour scorned : 

" For this is he, who, with a borrowed name 890 

" And proffered service, to thy palace came, 

" Now called Philostratus ; retained by thee, 

" A traitor trusted, and in high degree, 

" Aspiring to the bed of beauteous Emily. 

" My part remains ; from Thebes my birth I own. 

" And call myself the unhappy Palamon. 

" Think me not like that man ; since no disgrace 

" Can force me to renounce the honour of my race. 

" Know me for what I am : I broke thy chain, 

" Nor promised I thy prisoner to remain : 900 

" The love of liberty with life is given, 

" And life itself the inferior gift of Heaven. 

" Thus without crime I fled ; but farther know, 

" I, with this Arcite, am thy mortal foe : 

" Then give me death, since I thy life pursue : 

" For safeguard of thyself, death is my due. 

" More wouldst thou know? I love bright Emily. 

"And for her sake and in her sight will die : 

" But kill my rival too, for he no less 

" Deserves ; and I thy righteous doom will bless, 910 

" Assured that what I lose he never shall possess." 

To this replied the stern Athenian Prince, 

And sourly smiled : " In owning your offence 

" You judge yourself, and I but keep record 

" In place of law, while you pronounce the word. 



3<S PALAMON AND ARCITE — Book II. 

" Take your desert, the death you have decreed ; 
" I seal your doom, and ratify the deed : 
k ' By Mars, the patron of ray arms, you die." 

He said : dumb sorrow seized the standers-by. 
The Queen, above the rest, by nature good, 920 

(The pattern formed of perfect womanhood,) 
For tender pity wept : when she began, 
Through the bright quire the infectious virtue ran. 
All dropt their tears, even the contended maid ; 
And thus among themselves they softly said : 
" What eyes can suffer this unworthy sight ! 
" Two youths of royal blood, renowned in fight, 
" The mastership of Heaven in face and mind, 
" And lovers, far beyond their faithless kind : 
" See their wide streaming wounds; they neither came 930 
" From pride of empire nor desire of fame : 
" Kings fight for kingdoms, madmen for applause ; 
" But love for love alone, that crowns the lover's cause." 
This thought, which ever bribes the beauteous kind, 
Such pity wrought in every lady's mind, 
They left their steeds, and prostrate on the place, 
From the fierce King implored the offenders' grace. 

He paused a while, stood silent in his mood ; 
(For yet his rage was boiling in his blood :) 
But soon his tender mind the impression felt, 940 

(As softest metals are not slow to melt 
And pity soonest runs in gentle minds : ) 
Then reasons with himself; and first he finds 
His passion cast a mist before his sense, 
And either made or magnified the offence. 
Offence ? Of what ? To whom ? Who judged the cause ? 



PALAMOX AXD ARCITE — Book II. 39 

The prisoner freed himself by Nature's laws ; 

Born free, he sought his right ; the man he freed 

Was perjured, but his love excused the deed : 

Thus pondering, he looked under with his eyes, 950 

And saw the women's tears, and heard their cries, 

Which moved compassion more ; he shook his head, 

And softly sighing to himself he said : 

" Curse on the unpardoning prince, whom tears can draw 
" To no remorse, who rules by lion's law ; 
" And deaf to prayers, by no submission bowed, 
" Rends all alike, the penitent and proud ! " 
At this with look serene he raised his head ; 
Reason resumed her place, and passion fled : 
Then thus aloud he spoke : — " The power of Love, 960 
" In earth, and seas, and air, and heaven above, 
" Rules, unresisted, with an awful nod, 
" By daily miracles declared a god ; 
" He blinds the wise, gives eyesight to the blind ; 
" And moulds and stamps anew the lover's mind. 
" Behold that Arcite, and this Palamon, 
" Freed from my fetters, and in safety gone, 
" What hindered either in their native soil 
" At ease to reap the harvest of their toil? 
" But Love, their lord, did otherwise ordain, 970 

" And brought them, in their own despite again, 
" To suffer death deserved ; for well they know 
" Tis in my power, and I their deadly foe. 
" The proverb holds, that to be wise and love, 
" Is hardly granted to the gods above. 
" See how the madmen bleed ! behold the gains 
" With which their master, Love, rewards their pains ! 



40 PALAMON AND ARCITE— Book II. 

' k For seven long years, on duty every day, 

" Lo ! their obedience, and their monarch's pay ! 

"Yet, as in duty bound, they serve him on ; 980 

" And ask the fools, they think it wisely done ; 

" Nor ease nor wealth nor life itself regard, 

" For 'tis their maxim, love is love's reward. 

" This is not all ; the fair, for whom they strove, 

" Nor knew before, nor could suspect their love, 

" Nor thought, when she beheld the fight from far, 

" Her beauty was the occasion of the war. 

" But sure a general doom on man is past, 

"'And all are fools and lovers, first or last | 

'I This both by others and myself I know, 990 

" For I have served their sovereign long ago; 

" Oft have been caught within the winding train 

" Of female snares, and felt the lover's pain, 

" And learned how far the god can human hearts constrain. 

" To this remembrance, and the prayers of those 

" Who for the offending warriors interpose, 

" I give their forfeit lives, on this accord, 

"To do me homage as their sovereign lord ; 

" And as my vassals, to their utmost might, 

" Assist my person and assert my right." 1000 

This freely sworn, the knights their grace obtained ; 

Then thus the King his secret thought explained : 

" If wealth or honour or a royal race, 

" Or each or all, may win a lady's grace, 

" Then either of you knights may well deserve 

" A princess born ; and such is she you serve : 

" For Emily is sister to the crown, 

" And but too well to both her beauty known : 



PALAMON AND ARCITE — Book II. 41 

" But should you combat till you both were dead, 

" Two lovers cannot share a single bed. 1010 

" As, therefore, both are equal in degree, 

" The lot of both be left to destiny. 

" Now hear the award, and happy may it prove 

" To her, and him who best deserves her love. 

" Depart from hence in peace, and free as air, 

" Search the wide world, and where you please repair ; 

" But on the day when this returning sun 

" To the same point through every sign has run, 

" Then each of you his hundred knights shall bring 

" In royal lists, to fight before the king ; 1020 

" And then the knight, whom Fate or happy Chance 

" Shall with his friends to victory advance, 

" And grace his arms so far in equal fight, 

" From out the bars to force his opposite, 

" Or kill, or make him recreant on the plain, 

" The prize of valour and of love shall gain ; 

" The vanquished party shall their claim release, 

" And the long jars conclude in lasting peace. 

"The charge be mine to adorn the chosen ground, 

" The theatre of war, for champions so renowned ; 1030 

" And take the patron's place of either knight, 

" With eyes impartial to behold the fight ; 

" And Heaven of me so judge as I shall judge aright. 

" If both are satisfied with this accord, 

" Swear by the laws of knighthood on my sword." 

Who now but Palamon exults with joy ? 
And ravished Arcite seems to touch the sky. 
The whole assembled troop was pleased as well, 
Extolled the award, and on their knees they fell 



42 PALAMON AND ARCITE — Book II. 

To bless the gracious King. The knights, with leave 1040 

Departing from the place, his last commands receive ; 

On Emily with equal ardour look, 

And from her eyes their inspiration took. 

From thence to Thebes' old walls pursue their way, 

Each to provide his champions for the day. 

It might be deemed, on our historian's part, 
Or too much negligence or want of art, 
If he forgot the vast magnificence 
Of royal Theseus, and his large expense. 
He first enclosed for lists a level ground, 1050 

The whole circumference a mile around ; 
The form was circular ; and all without 
A trench was sunk, to moat the place about. 
Within, an amphitheatre appeared, 
Raised in degrees, to sixty paces reared : 
That when a man was placed in one degree, 
Height was allowed for him above to see. 

Eastward was built a gate of marble white ; 
The like adorned the western opposite. 
A nobler object than this fabric was 1060 

Rome never saw, nor of so vast a space : 
For, rich with spoils of many a conquered land. 
All arts and artists Theseus could command, 
Who sold for hire, or wrought for better fame ; 
The master-painters and the carvers came. 
So rose within the compass of the year 
An age's work, a glorious theatre. 
Then o'er its eastern gate was raised above 
A temple, sacred to the Queen of Love ; 
An altar stood below ; on either hand ic;o 



PALAMON AND ARCITE — Book II. 43 

A priest with roses crowned, who held a myrtle wand. 

The dome of Mars was on the gate opposed, 
And on the north a turret was enclosed 
Within the wall of alabaster white 
And crimson coral, for the Queen of Night, 
Who takes in sylvan sports her chaste delight. 

Within these oratories might you see 
Rich carvings, portraitures, and imagery ; 
Where every figure to the life expressed 
The godhead's power to whom it was addressed. 10S0 

In Venus' temple on the sides were seen 
The broken slumbers of enamoured men ; 
Prayers that even spoke, and pity seemed to call, 
And issuing sighs that smoked along the wall ; 
Complaints and hot desires, the lover's hell, 
And scalding tears that wore a channel where they fell ; 
And all around were nuptial bonds, the ties 
Of love's assurance, and a train of lies, 
That, made in lust, conclude in perjuries ; 
Beauty, and Youth, and Wealth, and Luxury, 1090 

And sprightly Hope, and short-enduring Joy, 
And Sorceries, to raise the infernal powers, 
And Sigils framed in planetary hours ; 
Expense, and After-thought, and idle Care, 
And Doubts of motley hue, and dark Despair; 
Suspicions, and fantastical Surmise, 
And Jealousy suffused, with jaundice in her eyes, 
Discolouring all she viewed, in tawny dressed, 
Down-looked, and with a cuckow on her fist. 
Opposed to her, on the other side advance noo 

The costly feast, the carol, and the dance, 



44 PALAMON AND ARCITE — Book II. 

Minstrels and music, poetry and play, 

And balls by night, and tournaments by day. 

All these were painted on the wall, and more ; 

With acts and monuments of times before ; 

And others added by prophetic doom, 

And lovers yet unborn, and loves to come : 

For there the Idalian mount, and Citheron, 

The court of Venus, was in colours drawn ; 

Before the palace gate, in careless dress mo 

And loose array, sat portress Idleness ; 

There by the fount Narcissus pined alone ; 

There Samson was, with wiser Solomon, 

And all the mighty names by love undone. 

Medea's charms were there ; Circean feasts, 

With bowls that turned enamoured youths to beasts. 

Here might be seen, that beauty, wealth, and wit, 

And prowess to the power of love submit ; 

The spreading snare for all mankind is laid, 

And lovers all betray, and are betrayed. 1120 

The Goddess' self some noble hand had wrought ; 

Smiling she seemed, and full of pleasing thought ; 

From ocean as she first began to rise, 

And smoothed the ruffled seas, and cleared the skies, 

She trod the brine, all bare below the breast, 

And the green waves but ill concealed the rest : 

A lute she held ; and on her head was seen 

A wreath of roses red and myrtles green ; 

Her turtles fanned the buxom air above ; 

And by his mother stood an infant Love, 1130 

With wings unfledged : his eyes were banded o'er. 

His hands a bow, his back a quiver bore, 



PALAMON AND ARCITE — Book II. 45 

Supplied with arrows bright and keen, a deadly store. 

But in the dome of mighty Mars the red 
With different figures all the sides were spread ; 
This temple, less in form, with equal grace, 
Was imitative of the first in Thrace ; 
For that cold region was the loved abode 
And sovereign mansion of the warrior god. 
The landscape was a forest wide and bare, u 4 o 

Where neither beast nor human kind repair ; 
The fowl that scent afar the borders fly, 
And shun the bitter blast, and wheel about the sky. 
A cake of scurf lies baking on the ground, 
And prickly stubs, instead of trees, are found ; 
Or woods with knots and knares deformed and old, 
Headless the most, and hideous to behold ; 
A rattling tempest through the branches went, 
That stripped them bare, and one sole way they bent. 
Heaven froze above severe, the clouds congeal, n;o 

And through the crystal vault appeared the standing hail. 
Such was the face without : a mountain stood 
Threatening from high, and overlooked the wood : 
Beneath the lowering brow, and on a bent, 
The temple stood of Mars armipotent ; 
The frame of burnished steel, that cast a glare 
From far, and seemed to thaw the freezing air. 
A straight long entry to the temple led, 
Blind with high walls, and horror over head ; 
Thence issued such a blast, and hollow roar, 1160 

As threatened from the hinge to heave the door ; 
In through that door a northern light there shone ; 
'Twas all it had, for windows there were none. 



46 PALAMON AND ARCITE — Book II. 

The gate was adamant ; eternal frame, 

Which, hewed by Mars himself, from Indian quarries came, 

The labour of a God ; and all along 

Tough iron plates were clenched to make it strong. 

A tun about was every pillar there ; 

A polished mirror shone not half so clear. 

There saw I how the secret felon wrought, 1170 

And treason labouring in the traitor's thought, 

And midwife Time the ripened plot to murder brought. 

There the red Anger dared the pallid Fear ; 

Next stood Hypocrisy, with holy leer, 

Soft, smiling, and demurely looking down, 

But hid the dagger underneath the gown ; 

The assassinating wife, the household fiend ; 

And far the blackest there, the traitor-friend. 

On the other side there stood Destruction bare, 

Unpunished Rapine, and a waste of war ; 1180 

Contest, with sharpened knives in cloisters drawn, 

And all with blood bespread the holy lawn. 

Loud menaces were heard, and foul disgrace, 

And bawling infamy, in language base ; 

Till sense was lost in sound, and silence fled the place. 

The slayer of himself yet saw I there, 

The gore congealed was clottered in his hair ; 

With eyes half closed and gaping mouth he lay, 

And grim as when he breathed his sullen soul away. 

In midst of all the dome, Misfortune sate, 1190 

And gloomy Discontent, and fell Debate, 

And Madness laughing in his ireful mood ; 

And armed Complaint on theft ; and cries of blood. 

There was the murdered corpse, in covert laid, 



PALAMON AND ARCITE — Book II. 47 

And violent death in thousand shapes displayed ; 

The city to the soldier's rage resigned ; 

Successless wars, and poverty behind : 

Ships burnt in fight, or forced on rocky shores, 

And the rash hunter strangled by the boars : 

The new-born babe by nurses overlaid ; 1200 

And the cook caught within the raging fire he made. 

All ills of Mars his nature, flame and steel ; 

The gasping charioteer beneath the wheel 

Of his own car ; the ruined house that falls 

And intercepts her lord betwixt the walls : 

The whole division that to Mars pertains, 

All trades of death that deal in steel for gains 

Were there : the butcher, armourer, and smith, 

Who forges sharpened falchions, or the scythe. 

The scarlet Conquest on a tower was placed, 1210 

With shouts and soldiers' acclamations graced : 

A pointed sword hung threatening o'er his head, 

Sustained but by a slender twine of thread. 

There saw I Mars his ides, the Capitol, 

The seer in vain foretelling Caesar's fall ; 

The last Triumvirs, and the wars they move, 

And Antony, who lost the world for love. 

These, and a thousand more, the fane adorn ; 

Their fates were painted ere the men were born, 

All copied from the heavens, and ruling force 1220 

Of the red star, in his revolving course. 

The form of Mars high on a chariot stood, 

All sheathed in arms, and gruffly looked the god ; 

Two geomantic figures were displayed 

Above his head, a warrior and a maid, 



48 PALAMON AND ARCITE — Book II. 

One when direct, and one when retrograde. 

Tired with deformities of death, I haste 
To the third temple of Diana chaste. 
A sylvan scene with various greens was drawn, 
Shades on the sides, and on the midst a lawn ; 123c 

The silver Cynthia, with her nymphs around, 
Pursued the flying deer, the woods with horns resound : 
Calisto there stood manifest of shame, 
And, turned a bear, the northern star became : 
Her son was next, and, by peculiar grace, 
In the. cold circle held the second place ; 
The stag Actaeon in the stream had spied 
The naked huntress, and for seeing died ; 
His hounds, unknowing of his change, pursue 
The chase, and their mistaken master slew. 1240 

Peneian Daphne too was there to see, 
Apollo's love before, and now his tree. 
The adjoining fane the assembled Greeks expressed, 
And hunting of the Calydonian beast. 
CEnides' valour, and his envied prize ; 
The fatal power of Atalanta's eyes ; 
Diana's vengeance on the victor shown, 
The murderess mother, and consuming son ; 
The Volscian queen extended on the plain, 
The treason punished, and the traitor slain. 1250 

The rest were various huntings, well designed, 
And savage beasts destroyed, of every kind. 
The graceful goddess was arrayed in green ; 
About her feet were little beagles seen, 
That watched with upward eyes the motions of their Queen. 
Her legs were buskined, and the left before, 



PALAMON AND ARCITE — Book II. 49 

In act to shoot ; a silver bow she bore, 

And at her back a painted quiver wore. 

She trod a wexing moon, that soon would wane, 

And, drinking borrowed light, be filled again ; 1260 

With downcast eyes, as seeming to survey 

The dark dominions, her alternate sway. 

Before her stood a woman in her throes, 

And called Lucina's aid, her burden to disclose. 

All these the painter drew with such command, 

That Nature snatched the pencil from his hand, 

Ashamed and angry that his art could feign, 

And mend the tortures of a mother's pain. 

Theseus beheld the fanes of every god, 

And thought his mighty cost was well bestowed. 1270 

So princes now their poets should regard ; 

But few can write, and fewer can reward. 

The theatre thus raised, the lists enclosed, 
And all with vast magnificence disposed, 
We leave the monarch pleased, and haste to bring 
The knights to combat, and their arms to sing. 



BOOK III. 

The day approached when Fortune should decide 
The important enterprise, and give the bride ; 
For now the rivals round the world had sought, 
And each his number, well appointed, brought. 1280 

The nations far and near contend in choice, 
And send the flower of war by public voice ; 
That after or before were never known 
Such chiefs, as each an army seemed alone : 
Beside the champions, all of high degree, 
Who knighthood loved, and deeds of chivalry, 
Thronged to the lists, and envied to behold 
The names of others, not their own, enrolled. 
Nor seems its strange ; for every noble knight 
Who loves the fair, and is endued with might, 1290 

In such a quarrel would be proud to fight. 
There breathes not scarce a man on British ground 
(An isle for love and arms of old renowned) 
But would have sold his life to purchase fame, 
To Palamon or Arcite sent his name ; 
And had the land selected of the best, 
Half had come hence, and let the world provide the rest. 
A hundred knights with Palamon there came, 
Approved in fight, and men of mighty name ; 
Their arms were several, as their nations were, 1300 

But furnished all alike with sword and spear. 
Some wore coat armour, imitating scale, 

5° 



PALAMON AND ARCITE — Book III. 51 

And next their skins were stubborn shirts of mail ; 

Some wore a breastplate and a light juppon, 

Their horses clothed with rich caparison ; 

Some for defence would leathern bucklers use 

Of folded hides, and others shields of Pruce. 

One hung a pole-axe at his saddle-bow, 

And one a heavy mace to stun the foe ; 

One for his legs and knees provided well, 1310 

With jambeux armed, and double plates of steel ; 

This on his helmet wore a lady's glove, 

And that a sleeve embroidered by his love. 

With Palamon above the rest in place, 
Lycurgus came, the surly king of Thrace ; 
Black was his beard, and manly was his face : 
The balls of his broad eyes rolled in his head, 
And glared betwixt a yellow and a red ; 
He looked a lion with a gloomy stare, 
And o'er his eyebrows hung his matted hair ; 1320 

Big-boned and large of limbs, with sinews strong, 
Broad-shouldered, and his arms were round and long. 
Four milk-white bulls (the Thracian use of old) 
Were yoked to draw his car of burnished gold. 
Upright he stood, and bore aloft his shield, 
Conspicuous from afar, and overlooked the field. 
His surcoat was a bear-skin on his back ; 
His hair hung long behind, and glossy raven-black. 
His ample forehead bore a coronet. 

With sparkling diamonds and with rubies set. 1330 

Ten brace, and more, of greyhounds, snowy fair, 
And tall as stags, ran loose, and coursed around his chair, 
A match for pards in flight, in grappling for the bear ; 



52 PALAMON AND ARCITE — Book III. 

With golden muzzles all their mouths were bound, 
And collars of the same their necks surround. 
Thus through the fields Lycurgus took his way ; 
His hundred knights attend in pomp and proud array. 

To match this monarch, with strong Arcite came 
Emetrius, king of Inde, a mighty name ! 
On a bay courser, goodly to behold, 1340 

The trappings of his horse embossed with barbarous gold. 
Not Mars bestrode a steed with greater grace ; 
His surcoat o'er his arms was cloth of Thrace, 
Adorned with pearls, all orient, round, and great ; 
His saddle was of gold, with emeralds set; 
His shoulders large a mantle did attire, 
With rubies thick, and sparkling as the fire ; 
His amber-coloured locks in ringlets run, 
With graceful negligence, and shone against the sun. 
His nose was aquiline, his eyes were blue, 1350 

Ruddy his lips, and fresh and fair his hue ; 
Some sprinkled freckles on his face were seen. 
Whose dusk set off the whiteness of the skin. 
His awful presence did the crowd surprise, 
Nor durst the rash spectator meet his eyes ; 
Eyes that confessed him born for kingly sway. 
So fierce, they flashed intolerable day. 
His age in nature's youthful prime appeared, 
And just began to bloom his yellow beard. 
Whene'er he spoke, his voice was heard around, 1360 

Loud as a trumpet, with a silver sound ; 
A laurel wreathed his temples, fresh and green, 
And myrtle sprigs, the marks of love, were mixed between. 
Upon his fist he bore, for his delight, 



PALAMON AND ARCITE — Book III. 53 

An eagle well reclaimed, and lily white. 

His hundred knights attend him to the war. 
All armed for battle ; save their heads were bare. 
Words and devices blazed on every shield, 
And pleasing was the terror of the field. 
For kings, and dukes, and barons you might see, 1370 

Like sparkling stars, though different in degree. 
All for the increase of arms, and love of chivalry. 
Before the king tame leopards led the way, 
And troops of lions innocently play. 
So Bacchus through the conquered Indies rode, 
And beasts in gambols frisked before their honest god. 

In this array the war of either side 
Through Athens passed with military pride. 
At prime they entered on the Sunday morn ; 
Rich tapestry spread the streets, and flowers the pots 
adorn. 1380 

The town was all a jubilee of feasts ; 
So Theseus willed in honour of his guests ; 
Himself with open arms the kings embraced, 
Then all the rest in their degrees were graced. 
No harbinger was needful for the night, 
For every house was proud to lodge a knight. 

I pass the royal treat, nor must relate 
The gifts bestowed, nor how the champions sate ; 
Who first, who last, or how the knights addressed 
Their vows, or who was fairest at the feast ; 1390 

Whose voice, whose graceful dance did most surprise ; 
Soft amorous sighs, and silent love of eyes. 
The rivals call my Muse another Avay, 
To sing their vigils for the ensuing day. 



54 PALAMON AND ARCITE — Book III. 

'Twas ebbing darkness, past the noon of night, 
And Phosphor, on the confines of the light, 
Promised the sun ; ere day began to spring, 
The tuneful lark already stretched her wing, 
And flickering on her nest, made short essays to sing, 
When wakeful Palamon, preventing day, 1400 

Took to the royal lists his early way, 
To Venus at her fane, in her own house, to pray. 
There, falling on his knees before her shrine, 
He thus implored with prayers her power divine : 
" Creator Venus, genial power of love, 
" The bliss of men below, and gods above ! 
" Beneath the sliding sun thou runst thy race, 
" Dost fairest shine, and best become thy place. 
" For thee the winds their eastern blasts forbear, 1409 

" Thy month reveals the spring, and opens all the year. 
" Thee, Goddess, thee the storms of winter fly ; 
" Earth smiles with flowers renewing, laughs the sky, 
" And birds to lays of love their tuneful notes apply. 
" For thee the lion loathes the taste of blood, 
" And roaring hunts his female through the wood ; 
" For thee the bulls rebellow through the groves, 
" And tempt the stream, and snuff their absent loves. 
" 'Tis thine, whate'er is pleasant, good, or fair ; 
" All nature is thy province, life thy care ; 
"Thou madest the world, and dost the world repair. 1420 
" Thou gladder of the mount of Cytheron, 
" Increase of Jove, companion of the Sun, 
" If e'er Adonis touched thy tender heart, 
" Have pity, Goddess, for thou knowest the smart ! 
" Alas ! I have not words to tell my grief; 



PALAMON AND ARCITE-Book III. 55 

"To vent my sorrow would be some relief; 
" Light sufferings give us leisure to complain ; 
" We groan, but cannot speak, in greater pain. 
" O Goddess, tell thyself what I would say ! 
" Thou knowest it, and I feel too much to pray. 1430 

" So grant my suit, as I enforce my might, 
" In love to be thy champion and thy knight, 
" A servant to thy sex, a slave to thee, 
" A foe professed to barren chastity : 
" Nor ask I fame or honour of the field, 
" Nor choose I more to vanquish than to yield : 
" In my divine Emilia make me blest, 
" Let Fate or partial Chance dispose the rest : 
" Find thou the manner, and the means prepare ; 
" Possession, more than conquest, is my care. 1440 

" Mars is the warrior's god ; in him it lies 
" On whom he favours to confer the prize ; 
" With smiling aspect you serenely move 
" In your fifth orb, and rule the realm of love. 
" The Fates but only spin the coarser clue, 
" The finest of the wool is left for you : 
" Spare me but one small portion of the twine, 
" And let the Sisters cut below your line : 
" The rest among the rubbish may they sweep, 
" Or add it to the yarn of some old miser's heap. 1450 
" But if you this ambitious prayer deny, 
" (A wish, I grant, beyond mortality,) 
" Then let me sink beneath proud Arcite's arms, 
"And, I once dead, let him possess her charms." 
Thus ended he ; then, with observance due, 
The sacred incense on her altar threw : 



56 PALAMON AND ARCITE — Book III. 

The curling smoke mounts heavy from the fires ; 

At length it catches flame, and in a blaze expires ; 

At once the gracious Goddess gave the sign, 

Her statue shook, and trembled all the shrine : 1460 

Pleased Palamon the tardy omen took ; 

For since the flames pursued the trailing smoke, 

He knew his boon was granted, but the day 

To distance driven, and joy adjourned with long delay. 

Now morn with rosy light had streaked the sky, 
Up rose the sun, and up rose Emily ; 
Addressed her early steps to Cynthia's fane, 
In state attended by her maiden train, 
Who bore the vests that holy rites require, 
Incense, and odorous gums, and covered fire. 1470 

The plenteous horns with pleasant mead they crown, 
Nor wanted aught besides in honour of the Moon. 
Now, while the temple smoked with hallowed steam, 
They wash the virgin in a living stream ; 
The secret ceremonies I conceal, 
Uncouth, perhaps unlawful to reveal : 
But such they were as pagan use required, 
Performed by women when the men retired, 
Whose eyes profane their chaste mysterious rites 
Might turn to scandal or obscene delights. 1480 

Well-meaners think no harm ; but for the rest, 
Things sacred they pervert, and silence is the best. 
Her shining hair, uncombed, was loosely spread, 
A crown of mastless oak adorned her head : 
When to the shrine approached, the spotless maid 
Had kindling fires on either altar laid ; 
(The rites were such as were observed of old, 



PALAMON AND ARCITE — Book III. 57 

By Statins in his Theban story told.) 

Then kneeling with her hands across her breast, 

Thus lowly she preferred her chaste request : 1490 

" O Goddess, haunter of the woodland green, 
" To whom both heaven and earth and seas are seen ; 
" Queen of the nether skies, where half the year 
" Thy silver beams descend, and light the gloomy sphere ; 
" Goddess of maids, and conscious of our hearts, 
" So keep me from the vengeance of thy darts, 
" (Which Niobe's devoted issue felt, 
"When hissing through the skies the feathered deaths 

were dealt,) 
" As I desire to live a virgin life, 

" Nor know the name of mother or of wife. 1500 

" Thy votress from my tender years I am, 
" And love, like thee, the woods and sylvan game. 
" Like death, thou knowest, I loathe the nuptial state, 
" And man, the tyrant of our sex, I hate, 
" A lowly servant, but a lofty mate ; 
" Where love is duty on the female side, 
" On theirs me^e sensual gust, and sought with surly pride. 
" Now by thy triple shape, as thou art seen 
" In heaven, earth, hell, and everywhere a queen, 
" Grant this my first desire ; let discord cease, 15 10 

" And make betwixt the rivals lasting peace : 
" Quench their hot fire, or far from me remove 
" The flame, and turn it on some other love ; 
" Or if my frowning stars have so decreed, 
" That one must be rejected, one succeed, 
" Make him my lord, within whose faithful breast 
" Is fixed my image, and who loves me best. 



58 PALAMON AND ARCITE — Book III. 

" But oh ! even that avert ! I choose it not, 

" But take it as the least unhappy lot. 

" A maid I am, and of thy virgin train ; 1520 

" Oh, let me still that spotless name retain ! 

" Frequent the forests, thy chaste will obey, 

" And only make the beasts of chase my prey ! " 

The flames ascend on either altar clear, 
While thus the blameless maid addressed her prayer. 
When lo ! the burning fire that shone so bright 
Flew off, all sudden, with extinguished light, 
And left one altar dark, a little space, 
Which turned self-kindled, and renewed the blaze ; 
That other victor- flame a moment stood, 1530 

Then fell, and lifeless left the extinguished wood ; 
For ever lost, the irrevocable light 
Forsook the blackening coals, and sunk to night : 
At either end it whistled as it flew, 
And as the brands were green, so dropped the dew, 
Infected as it fell with sweat of sanguine hue. 

The maid from that ill omen turned her eyes, 
And with loud shrieks and clamours rent tke skies ; 
Nor knew what signified the boding sign, 
But found the powers displeased, and feared the wrath 

divine. 1540 

Then shook the sacred shrine, and sudden light 
Sprung through the vaulted roof, and made the temple 

bright. 
The Power, behold ! the Power in glory shone, 
By her bent bow and her keen arrows known ; 
The rest, a huntress issuing from the wood, 
Reclining on her cornel spear she stood. 



PALAMON AND ARCITE — Book III. 59 

Then gracious thus began : " Dismiss thy fear, 

" And Heaven's unchanged decrees attentive hear : 

" More powerful gods have torn thee from my side, 

" Unwilling to resign, and doomed a bride ; 1550 

" The two contending knights are weighed above ; 

" One Mars protects, and one the Queen of Love : 

" But which the man is in the Thunderer's breast ; 

" This he pronounced, ' 'Tis he who loves thee best.' 

" The fire that, once extinct, revived again 

" Foreshows the love allotted to remain. 

" Farewell ! " she said, and vanished from the place ; 

The sheaf of arrows shook, and rattled in the case. 

Aghast at this, the royal virgin stood, 

Disclaimed, and now no more a sister of the wood : 1560 

But to the parting Goddess thus she prayed : 

" Propitious still, be present to my aid, 

'•'Nor quite abandon your once favoured maid." 

Then sighing she returned ; but smiled betwixt, 

With hopes, and fears, and joys with sorrows mixt. 

The next returning planetary hour 
Of Mars, who shared the heptarchy of power, 
His steps bold Arcite to the temple bent, 
To adore with pagan rites the power armi potent : 
Then prostrate, low before his altar lay, 1570 

And raised his manly voice, and thus began to pray : 
" Strong God of Arms, whose iron sceptre sways 
" The freezing North, and Hyperborean seas, 
" And Scythian colds, and Thracia's wintry coast, 
" Where stand thy steeds, and thou art honoured most : 
" There most, but everywhere thy power is known, 
" The fortune of the fight is all thy own : 



60 PALAMON AND ARCITE — Book III. 

" Terror is thine, and wild amazement, flung 
" From out thy chariot, withers even the strong ; 
" And disarray and shameful rout ensue, 1580 

" And force is added to the fainting crew. 
" Acknowledged as thou art, accept my prayer ! 
" If aught I have achieved deserve thy care, 
" If to my utmost power with sword and shield 
" I dared the death, unknowing how to yield, 
" And falling in my rank, still kept the field ; 
" Then let my arms prevail, by thee sustained, 
" That Emily by conquest may be gained. 
" Have pity on my pains ; nor those unknown 
" To Mars, which, when a lover, were his own. 1590 

" Venus, the public care of all above, 
" Thy stubborn heart has softened into love : 
" Now, by her blandishments and powerful charms, 
" When yielded she lay curling in thy arms, 
" Even by thy shame, if shame it may be called, 
" When Vulcan had thee in his net enthralled ; 
" (O envied ignominy, sweet disgrace, 
" When every god that saw thee wished thy place !) 
" By those dear pleasures, aid my arms in fight, 
" And make me conquer in my patron's right : 1600 

" For I am young, a novice in the trade, 
" The fool of love, unpractised to persuade, 
" And want the soothing arts that catch the fair, 
" But, caught myself, lie struggling in the snare ; 
" And she I love or laughs at all my pain 
" Or knows her worth too well, and pays me with dis- 
dain. 
" For sure I am, unless I win in arms, 



PALAMON AND ARCITE — Book III. 61 

" To stand excluded from Emilia's charms : 

" Nor can my strength avail, unless by thee 

" Endued with force I gain the victory ; 1610 

"Then for the fire which warmed thy generous heart, 

" Pity thy subject's pains and equal smart. 

" So be the morrow's sweat and labour mine, 

" The palm and honour of the conquest thine : 

"Then shall the war, and stern debate, and strife 

" Immortal be the business of my life ; 

" And in thy fane, the dusty spoils among, 

" High on the burnished roof, my banner shall be hung, 

" Ranked with my champions' bucklers ; and below, 

" With arms reversed, the achievements of my foe ; 1620 

" And while these limbs the vital spirit feeds, 

" While day to night and night to day succeeds, 

" Thy smoking altar shall be fat with food 

" Of incense and the grateful steam of blood ; 

" Burnt-offerings morn and evening shall be thine, 

" And fires eternal in thy temple shine. 

" This bush of yellow beard, this length of hair, 

" Which from my birth inviolate I bear, 

" Guiltless of steel, and from the razor free, 

" Shall fall a plenteous crop, reserved for thee. 1630 

" So may my arms with victory be blest, 

" I ask no more ; let Fate dispose the rest." 

The champion ceased ; there followed in the close 
A hollow groan ; a murmuring wind arose ; 
The rings of iron, that on the doors were hung, 
Sent out a jarring sound, and harshly rung : 
The bolted gates flew open at the blast, 
The storm rushed in, and Arcite stood aghast : 



62 PALAMON AND ARCITE — Book III. 

The flames were blown aside, yet shone they bright, 
Fanned by the wind, and gave a ruffled light. 1640 

Then from the ground a scent began to rise, 
Sweet smelling as accepted sacrifice : 
This omen pleased, and as the flames aspire, 
With odorous incense Arcite heaps the fire : 
Nor wanted hymns to Mars or heathen charms : 
At length the nodding statue clashed his arms, 
And with a sullen sound and feeble cry, 
Half sunk and half pronounced the word of Victory. 
For this, with soul devout, he thanked the God, 
And, of success secure, returned to his abode. 1650 

These vows, thus granted, raised a strife above 
Betwixt the God of War and Queen of Love. 
She, granting first, had right of time to plead ; 
But he had granted too, nor would recede. 
Jove was for Venus, but he feared his wife, 
And seemed unwilling to decide the strife ; 
Till Saturn from his leaden throne arose, 
And found a way the difference to compose : 
Though sparing of his grace, to mischief bent, 
He seldom does a good with good intent. 1660 

Wayward, but wise ; by long experience taught, 
To please both parties, for ill ends, he sought : 
For this advantage age from youth has won, 
As not to be outridden, though outrun. 
By fortune he was now to Venus trined, 
And with stern Mars in Capricorn was joined : 
Of him disposing in his own abode, 
He soothed the Goddess, while he gulled the God : 
" Cease, daughter, to complain, and stint the strife ; 



PALAMON AND ARCITE — Book III. 63 

" Thy Palamon shall have his promised wife : 1670 

" And Mars, the lord of conquest, in the fight 

" With palm and laurel shall adorn his knight. 

" Wide is my course, nor turn I to my place 

" Till length of time, and move with tardy pace. 

" Man feels me, when I press the ethereal plains ; 

" My hand is heavy, and the wound remains. 

" Mine is the shipwreck, in a watery sign ; 

" And in an earthy, the dark dungeon mine. 

" Cold shivering agues, melancholy care, 

"And bitter blasting winds, and poisoned air, 1680 

" Are mine, and wilful death, resulting from despair. 

" The throttling quinsy 'tis my star appoints, 

" And rheumatisms I send to rack the joints : 

" When churls rebel against their native prince, 

" I arm their hands, and furnish the pretence ; 

" And housing in the lion's hateful sign, 

" Bought senates and deserting troops are mine. 

" Mine is the privy poisoning ; I command 

"Unkindly seasons and ungrateful land. 

" By me kings' palaces are pushed to ground, 1690 

" And miners crushed beneath their mines are found. 

" 'Twas I slew Samson, when the pillared hall 

" Fell down, and crushed the many with the fall. 

" My looking is the sire of pestilence, 

" That sweeps at once the people and the prince. 

" Now weep no more, but trust thy grandsire's art ; 

" Mars shall be pleased, and thou perform thy part. 

" 'Tis ill, though different your complexions are, 

"The family of Heaven for men should war." 

The expedient pleased, where neither lost his right ; 1700 



64 PALAMON AND ARCITE — Book III. 

Mars had the day, and Venus had the night. 
The management they left to Cronos' care. 
Now turn we to the effect, and sing the war. 

In Athens all was pleasure, mirth, and play, 
All proper to the spring, and sprightly May : 
Which every soul inspired with such delight, 
'Twas justing all the day, and love at night. 
Heaven smiled, and gladded was the heart of man ; 
And Venus had the world as when it first began. 
At length in sleep their bodies they compose, 1710 

And dreamt the future fight, and early rose. 

Now scarce the dawning day began to spring, 
As at a signal given, the streets with clamours ring : 
At once the crowd arose ; confused and high, 
Even from the heaven was heard a shouting cry, 
For Mars was early up, and roused the sky. 
The gods came downward to behold the wars, 
Sharpening their sights, and leaning from their stars. 
The neighing of the generous horse was heard, 
For battle by the busy groom prepared : 1720 

Rustling of harness, rattling of the shield, 
Clattering of armour, furbished for the field. 
Crowds to the castle mounted up the street, 
Battering the pavement with their coursers' feet : 
The greedy sight might there devour the gold 
Of glittering arms, too dazzling to behold : 
And polished steel that cast the view aside, 
And crested morions, with their plumy pride. 
Knights, with a long retinue of their squires, 
In gaudy liveries march, and quaint attires. 1730 

One laced the helm, another held the lance ; 



PALAMON AND ARCITE — Book III. 65 

A third the shining buckler did advance. 

The courser pawed the ground with restless feet, 

And snorting foamed, and champed the golden bit. 

The smiths and armourers on palfreys ride, 

Files in their hands, and hammers at their side, 

And nails for loosened spears and thongs for shields pro- 
vide. 

The yeomen guard the streets in seemly bands ; 

And clowns come crowding on, with cudgels in their 
hands. 
The trumpets, next the gate, in order placed, 1740 

Attend the sign to sound the martial blast : 

The palace yard is filled with floating tides, 

And the last comers bear the former to the sides. 

The throng is in the midst ; the common crew 

Shut out, the hall admits the better few. 

In knots they stand, or in a rank they walk, 

Serious in aspect, earnest in their talk ; 

Factious, and favouring this or t'other side, 

As their strong fancies and weak reason guide ; 

Their wagers back their wishes ; numbers hold 1750 

With the fair freckled king, and beard of gold : 

So vigorous are his eyes, such rays they cast, 

So prominent his eagle's beak is placed. 

But most their looks on the black monarch bend ; 

His rising muscles and his brawn commend ; 

His double-biting axe, and beamy spear, 

Each asking a gigantic force to rear. 

All spoke as partial favour moved the mind ; 

And, safe themselves, at others' cost divined. 

Waked by the cries, the Athenian chief arose, 1760 

F 



66 PALAMON AND ARCITE — Book III. 

The knightly forms of combat to dispose ; 
And passing through the obsequious guards, he sate 
Conspicuous on a throne, sublime in state ; 
There, for the two contending knights he sent ; 
Armed cap-a-pe, with reverence low they bent ; 
He smiled on both, and with superior look 
Alike their offered adoration took. 
The people press on every side to see 
Their awful Prince, and hear his high decree. 
Then signing to the heralds with his hand, 1770 

They gave his orders from their lofty stand. 
Silence is thrice enjoined ; then thus aloud 
The king-at-arms bespeaks the knights and listening 
crowd : 
" Our sovereign lord has pondered in his mind 
" The means to spare the blood of gentle kind ; 
" And of his grace and inborn clemency 
" He modifies his first severe decree, 
" The keener edge of battle to rebate, 
" The troops for honour fighting, not for hate. 
" He wills, not death should terminate their strife, 1780 
" And wounds, if wounds ensue, be short of life ; 
" But issues, ere the fight, his dread command, 
" That slings afar, and poniards hand to hand, 
" Be banished from the field ; that none shall dare 
"With shortened sword to stab in closer war; 
" But in fair combat fight with manly strength, 
" Nor push with biting point, but strike at length. 
" The tourney is allowed but one career 
" Of the tough ash, with the sharp-grinded spear ; 
" But knights unhorsed may rise from off the plain, 1790 



PALAMON AND ARCITE — Book III. 67 

" And fight on foot their honour to regain ; 

" Nor, if at mischief taken, on the ground 

" Be slain, but prisoners to the pillar bound, 

" At either barrier placed ; nor, captives made, 

" Be freed, or armed anew the fight invade. 

" The chief of either side, bereft of life, 

" Or yielded to his foe, concludes the strife. 

" Thus dooms the lord : now, valiant knights and young, 

" Fight each his fill, with swords and maces long." 

The herald ends : the vaulted firmament 1800 

With loud acclaims and vast applause is rent : 
Heaven guard a Prince so gracious and so good, 
So just, and yet so provident of blood ! 
This was the general cry. The trumpets sound, 
And warlike symphony is heard around. 
The marching troops through Athens take their way. 
The great Earl-marshal orders their array. 
The fair from high the passing pomp behold ; 
A rain of flowers is from the windows rolled. 
The casements are with golden tissue spread, 1810 

And horses' hoofs, for earth, on silken tapestry tread. 
The King goes midmost, and the rivals ride 
In equal rank, and close his either side. 
Next after these there rode the royal wife, 
With Emily, the cause and the reward of strife. 
The following cavalcade, by three and three. 
Proceed by titles marshalled in degree. 
Thus through the southern gate they take their way, 
And at the list arrived ere prime of day. 
There, parting from the King, the chiefs divide, 1820 

And wheeling east and west, before their many ride. 



68 PALAMON AND ARCITE — Book III. 

The Athenian monarch mounts his throne on high, 

And after him the Queen and Emily : 

Next these, the kindred of the crown are graced 

With nearer seats, and lords by ladies placed. 

Scarce were they seated, when with clamours loud 

In rushed at once a rude promiscuous crowd, 

The guards, and then each other overbear, 

And in a moment throng the spacious theatre. 

Now changed the jarring noise to whispers low, 1830 

As winds forsaking seas more softly blow, 

When at the western gate, on which the car 

Is placed aloft that bears the God of War, 

Proud Arcite, entering armed before his train, 

Stops at the barrier, and divides the plain. 

Red was his banner, and displayed abroad 

The bloody colours of his patron god. 

At that self moment enters Palamon 
The gate of Venus, and the rising Sun ; 
Waved by the wanton winds, his banner flies, 1840 

All maiden white, and shares the people's eyes. 
From east to west, look all the world around, 
Two troops so matched were never to be found ; 
Such bodies built for strength, of equal age, 
In stature sized ; so proud an equipage : 
The nicest eye could no distinction make, 
Where lay the advantage, or what side to take. 

Thus ranged, the herald for the last proclaims 
A silence, while they answered to their names : 
For so the King decreed, to shun with care 1850 

The fraud of musters false, the common bane of war. 
The tale was just, and then the gates were closed ; 



PALAMOX AND ARCITE — Book III. 69 

And chief to chief, and troop to troop opposed. 
The heralds last retired, and loudly cried, 
" The fortune of the field be fairly tried ! " 

At this the challenger, with fierce defy, 
His trumpet sounds ; the challenged makes reply : 
With clangour rings the field, resounds the vaulted sky. 
Their vizors closed, their lances in the rest, 
Or at the helmet pointed or the crest, i860 

They vanish from the barrier, speed the race, 
And spurring see decrease the middle space. 
A cloud of smoke envelopes either host, 
And all at once the combatants are lost : 
Darkling they join adverse, and shock unseen, 
Coursers with coursers justling, men with men : 
As labouring in eclipse, a while they stay, 
Till the next blast of wind restores the day. 
They look anew : the beauteous form of fight 
Is changed, and war appears a grisly sight. 1870 

Two troops in fair array one moment showed, 
The next, a field with fallen bodies strowed : 
Not half the number in their seats are found ; 
But men and steeds lie grovelling on the ground. 
The points of spears are stuck within the shield, 
The steeds without their riders scour the field. 
The knights unhorsed, on foot renew the fight ; 
The glittering falchions cast a gleaming light ; 
Hauberks and helms are hewed with many a wound, 
Out spins the streaming blood, and dyes the ground. 1880 
The mighty maces with such haste descend, 
They break the bones, and make the solid armour bend. 
This thrusts amid the throng with furious force ; 



jo PALAMON AND ARCITE — Book III. 

Down goes, at once, the horseman and the horse : 

That courser stumbles on the fallen steed, 

And, floundering, throws the rider o'er his head. 

One rolls along, a football to his foes ; 

One with a broken truncheon deals his blows. 

This halting, this disabled with his wound, 

In triumph led, is to the pillar bound, 1890 

Where by the King's award he must abide : 

There goes a captive led on t'other side. 

By fits they cease, and leaning on the lance, 

Take breath a while, and to new fight advance. 

Full oft the rivals met, and neither spared 
His utmost force, and each forgot to ward : 
The head of this was to the saddle bent, 
That other backward to the crupper sent : 
Both were by turns unhorsed ; the jealous blows 
Fall thick and heavy, when on foot they close. 1900 

So deep their falchions bite, that every stroke 
Pierced to the quick ; and equal wounds they gave and 

took. 
Borne far asunder by the tides of men, 
Like adamant and steel they met again. 

So when a tiger sucks the bullock's blood, 
A famished lion issuing from the wood 
Roars lordly fierce, and challenges the food. 
Each claims possession, neither will obey, 
But both their paws are fastened on the prey ; 
They bite, they tear ; and while in vain they strive, 1910 
The swains come armed between, and both to distance 
drive. 

At length, as Fate foredoomed, and all things tend 



PALAMON AND ARCITE — Book III. 71 

By course of time to their appointed end ; 

So when the sun to west was far declined, 

And both afresh in mortal battle joined, 

The strong Emetrius came in Arcite's aid, 

And Palamon with odds was overlaid : 

For, turning short, he struck with all his might 

Full on the helmet of the unwary knight. 

Deep was the wound ; he staggered with the blow, 1920 

And turned him to his unexpected foe ; 

Whom with such force he struck, he felled him down, 

And cleft the circle of his golden crown. 

But Arcite's men, who now prevailed in fight, 

Twice ten at once surround the single knight : 

O'erpowered at length, they force him to the ground, 

Unyielded as he was, and to the pillar bound ; 

And king Lycurgus, while he fought in vain 

His friend to free, was tumbled on the plain. 

Who now laments but Palamon, compelled 1930 

No more to try the fortune of the field, 
And, worse than death, to view with hateful eyes 
His rival's conquest, and renounce the prize ! 

The royal judge on his tribunal placed, 
Who had beheld the fight from first to last, 
Bade cease the war ; pronouncing from on high, 
Arcite of Thebes had won the beauteous Emily. 
The sound of trumpets to the voice replied, 
And round the royal lists the heralds cried, 
" Arcite of Thebes has won the beauteous bride ! " 1940 

The people rend the skies with vast applause ; 
All own the chief, when Fortune owns the cause. 
Arcite is owned even by the gods above, 



72 PALAMON AND ARCITE — Book III. 

And conquering Mars insults the Queen of Love. 

So laughed he when the rightful Titan failed, 

And Jove's usurping arms in heaven prevailed. 

Laughed all the powers who favour tyranny, 

And all the standing army of the sky. 

But Venus with dejected eyes appears, 

And weeping, on the lists distilled her tears ; 1950 

Her will refused, which grieves a woman most, 

And, in her champion foiled, the cause of Love is lost. 

Till Saturn said : " Fair daughter, now be still : 

" The blustering fool has satisfied his will ; 

" His boon is given ; his knight has gained the day, 

" But lost the prize ; the arrears are yet to pay. 

" Thy hour is come, and mine the care shall be 

" To please thy knight, and set thy promise free." 

Now while the heralds run the lists around, 
And Arcite ! Arcite ! heaven and earth resound, i960 

A miracle (nor less it could be called) 
Their joy with unexpected sorrow palled. 
The victor knight had laid his helm aside, 
Part for his ease, the greater part for pride ; 
Bareheaded, popularly low he bowed, 
And paid the salutations of the crowd ; 
Then spurring at full speed, ran endlong on 
Where Theseus sat on his imperial throne ; 
Furious he drove, and upward cast his eye, 
Where, next the Queen, was placed his Emily ; 1970 

Then passing, to the saddle-bow he bent ; 
A sweet regard the gracious virgin lent ; 
(For women, to the brave an easy prey, 
Still follow Fortune, where she leads the way :) 



PALAMON AND ARCITE— Book III. 73 

Just then from earth sprung out a flashing fire, 

By Pluto sent, at Saturn's bad desire : 

The startling steed was seized with sudden fright, 

And, bounding, o'er the pummel cast the knight ; 

Forward he flew, and pitching on his head, 

He quivered with his feet, and lay for dead. 1980 

Black was his countenance in a little space, 

For all the blood was gathered in his face. 

Help was at hand : they reared him from the ground, 

And from his cumbrous arms his limbs unbound ; 

Then lanced a vein, and watched returning breath ; 

It came, but clogged with symptoms of his death. 

The saddle-bow the noble parts had prest, 

All bruised and mortified his manly breast. 

Him still entranced, and in a litter laid, 

They bore from field, and to his bed conveyed. 1990 

At length he waked ; and, with a feeble cry, 

The word he first pronounced was Emily. 

Meantime the King, though inwardly he mourned, 
In pomp triumphant to the town returned, 
Attended by the chiefs who fought the field, 
(Now friendly mixed, and in one troop compelled;) 
Composed his looks to counterfeited cheer, 
And bade them not for Arcite's life to fear. 
But that which gladded all the warrior train, 
Though most were sorely wounded, none were slain. 2000 
The surgeons soon despoiled them of their arms, 
And some with salves they cure, and some with charms ; 
Foment the bruises, and the pains assuage, 
And heal their inward hurts with sovereign draughts of 
sage. 



74 PALAMON AND ARCITE — Book III. 

The King in person visits all around, 
Comforts the sick, congratulates the sound ; 
Honours the princely chiefs, rewards the rest, 
And holds for thrice three days a royal feast. 
None was disgraced ; for falling is no shame, 
And cowardice alone is loss of fame. 2010 

The venturous knight is from the saddle thrown, 
But 'tis the fault of fortune, not his own ; 
If crowds and palms the conquering side adorn, 
The victor under better stars was born : 
The brave man seeks not popular applause, 
Nor, overpowered with arms, deserts his cause ; 
Unshamed, though foiled, he does the best he can : 
[Force is of brutes, but honour is of man./ 

Thus Theseus smiled on all with equal grace, 
And each was set according to his place ; 2020 

With ease were reconciled the differing parts, 
1 For envy never dwells in noble hearts.) 
At length they took their leave, the time expired, 
Well pleased, and to their several homes retired. 

Meanwhile, the health of Arcite still impairs ; 
From bad proceeds to worse, and mocks the leech's 

cares ; 
Swoln is his breast ; his inward pains increase ; 
All means are used, and all without success. 
The clotted blood lies heavy on his heart, 
Corrupts, and there remains in spite of art ; 2030 

Nor breathing veins nor cupping will prevail ; 
All outward remedies and inward fail. 
The mould of nature's fabric is destroyed, 
Her vessels discomposed, her virtue void : 



PALAMON AND ARCITE — Book III. 75 

The bellows of his lungs begins to swell ; 

All out of frame is every secret cell, 

Nor can the good receive, nor bad expel. 

Those breathing organs, thus within opprest, 

With venom soon distend the sinews of his breast. 

Nought profits him to save abandoned life, 2040 

Nor vomit's upward aid, nor downward laxative. 

The midmost region battered and destroyed, 

When nature cannot work, the effect of art is void : 

For physic can but mend our crazy state, 

Patch an old building, not a new create. 

Arcite is doomed to die in all his pride, 

Must leave his youth, and yield his beauteous bride, 

Gained hardly, against right, and unenjoyed. 

When 'twas declared 'all hope of life was past, 

Conscience, that of all physic works the last, 2050 

Caused him to send for Emily in haste. 

With her, at his desire, came Palamon ; 

Then, on his pillow raised, he thus begun : 

" No language can express the smallest part 

" Of what I feel, and suffer in my heart, 

" For you, whom best I love and value most ; 

" But to your service I bequeath my ghost ; 

" Which, from this mortal body when untied, 

" Unseen, unheard, shall hover at your side ; 

" Nor fright you waking, nor your sleep offend, 2060 

" But wait officious, and your steps attend. 

" How I have loved, excuse my faltering tongue, 

" My spirit's feeble, and my pains are strong : 

" This I may say, I only grieve to die, 

" Because I lose my charming Emily. 



76 PALAMON AND ARCITE — Book III. 

" To die, when Heaven had put you in my power ! 

" Fate could not choose a more malicious hour. 

" What greater curse could envious Fortune give, 

" Than just to die when I began to live ! 

" Vain men ! how vanishing a bliss we crave ; 2070 

" Now warm in love, now withering in the grave ! 

" Never, O never more to see the sun ! 

" Still dark, in a damp vault, and still alone ! 

" This fate is common ; but I lose my breath 

" Near bliss, and yet not blessed before my death. 

" Farewell ! but take me dying in your arms ; 

" 'Tis all I can enjoy of all your charms : 

" This hand I cannot but in death resign ; 

" Ah, could I live ! but while I live 'tis mine. 

" I feel my end approach, and thus embraced 2080 

" Am pleased to die ; but hear me speak my last : 

" Ah, my sweet foe ! for you, and you alone, 

" I broke my faith with injured Palamon. 

" But love the sense of right and wrong confounds ; 

" Strong love and proud ambition have no bounds. 

" And much I doubt, should Heaven my life prolong, 

" I should return to justify my wrong ; 

" For while my former flames remain within, 

" Repentance is but want of power to sin. 

" With mortal hatred I pursued his life, 2090 

" Nor he nor you were guilty of the strife ; 

" Nor I, but as I loved ; yet all combined, 

" Your beauty and my impotence of mind, 

" And his concurrent flame that blew my fire, 

" For still our kindred souls had one desire. 

" He had a moment's right in point of time ; 



PALAMON AND ARCITE — Book III. 77 

" Had I seen first, then his had been the crime. 

" Fate made it mine, and justified his right ; 

"Nor holds this earth a more deserving knight 

" For virtue, valour, and for noble blood, 2100 

" Truth, honour, all that is comprised in good ; 

" So help me Heaven, in all the world is none 

" So worthy to be loved as Palamon. 

" He loves you too, with such a holy fire, 

" As will not, cannot, but with life expire : 

" Our vowed affections both have often tried, 

" Nor any love but yours could ours divide. 

" Then, by my love's inviolable band, 

" By my long suffering and my short command. 

" If e'er you plight your vows when I am gone, 21 10 

" Have pity on the faithful Palamon." 

This was his last; for Death came on amain, 
And exercised below his iron reign ; 
Then upward to the seat of life he goes ; 
Sense fled before him, what he touched he froze : 
Yet could he not his closing eyes withdraw, 
Though less and less of Emily he saw ; 
So, speechless, for a little space he lay ; 
Then grasped the hand he held, and sighed his soul away. 
But whither went his soul? let such relate 2120 

Who search the secrets of the future state : 
Divines can say but what themselves believe ; 
Strong proofs they have, but not demonstrative ; 
For, were all plain, then all sides must agree, 
And faith itself be lost in certainty. 
To live uprightly, then, is sure the best ; 
To save ourselves, and not to damn the rest. 



7 8 PALAMON AND ARCITE — Book III. 

The soul of Arcite went where heathens go, 
Who better live than we, though less they know. 

In Palamon a manly grief appears ; 2130 

Silent he wept, ashamed to show his tears. 
Emilia shrieked but once ; and then, opprest 
With sorrow, sunk upon her lover's breast : 
Till Theseus in his arms conveyed with care 
Far from so sad a sight the swooning fair. 
'Twere loss of time her sorrow to relate ; 
111 bears the sex a youthful lover's fate, 
When just approaching to the nuptial state : 
But, like a low-hung cloud, it rains so fast, 
That all at once it falls, and cannot last. 2140 

The face of things is changed, and Athens now, 
That laughed so late, becomes the scene of woe : 
Matrons and maids, both sexes, every state, 
With tears lament the knight's untimely fate. 
Not greater grief in falling Troy was seen 
For Hector's death ; but Hector was not then. 
Old men with dust deformed their hoary hair ; 
The women beat their breasts, their cheeks they tear. 
" Why wouldst thou go," with one consent they cry, 
"When thou hadst gold enough, and Emily?" 2150 

Theseus himself, who should have cheered the grief 
Of others, wanted now the same relief : 
Old y^Egeus only could revive his -son, 
Who various changes of the world had known, 
And strange vicissitudes of human fate, 
Still altering, never in a steady state : 
Good after ill and after pain delight, 
Alternate, like the scenes of day and night. 



PALAMON AND ARCITE — Book III. 79 

Since every man who lives is born to die, 

And none can boast sincere felicity, 2160 

With equal mind, what happens, let us bear, 

Nor joy, nor grieve too much for things beyond our care. 

Like pilgrims to the appointed place we tend ; 

The world's an inn, and death the journey's end. 

Even kings but play, and when their part is done, 

Some other, worse or better, mount the throne. 

With words like these the crowd was satisfied ; 

And so they would have been, had Theseus died. 

But he, their King, was labouring in his mind 

A fitting place for funeral pomps to find, 2170 

Which were in honour of the dead designed. 

And, after long debate, at last he found 

(As Love itself had marked the spot of ground) 

That grove for ever green, that conscious laund, 

Where he with Palamon fought hand to hand ; 

That, where he fed his amorous desires 

With soft complaints, and felt his hottest £res, 

There other flames might waste his earthly part, 

And burn his limbs, where love had burned his heart. 

This once resolved, the peasants were enjoined 2180 
Sere-wood, and firs, and doddered oaks to find. 
With sounding axes to the grove they go, 
Fell, split, and lay the fuel in a row ; 
Vulcanian food : a bier is next prepared, 
On which the lifeless body should be reared, 
Covered with cloth of gold ; on which was laid 
The corpse of Arcite, in like robes arrayed. 
White gloves were on his hands, and on his head 
A wreath of laurel, mixed with myrtle, spread. 



8o PALAMON AND ARCITE — Book III. 

A sword, keen-edged, within his right he held, 2190 

The warlike emblem of the conquered field : 

Bare was his manly visage on the bier ; 

Menaced his countenance, even in death severe. 

Then to the palace-hall they bore the knight, 

To lie in solemn state, a public sight : 

Groans, cries, and howlings fill the crowded place, 

And unaffected sorrow sat on every face. 

Sad Palamon above the rest appears, 

In sable garments, dewed with gushing tears ; 

His auburn locks on either shoulder flowed, 2200 

Which to the funeral of his friend he vowed ; 

But Emily, as chief, was next his side, 

A virgin-widow and a mourning bride. 

And, that the princely obsequies might be 

Performed according to his high degree, 

The steed, that bore him living to the fight, 

Was trapped with polished steel, all shining bright, 

And covered with the achievements of the knight. 

The riders rode abreast ; and one his shield, 

His lance of cornel-wood another held ; 2210 

The third his bow, and, glorious to behold, 

The costly quiver, all of burnished gold. 

The noblest of the Grecians next appear, 

And weeping, on their shoulders bore the bier; 

With sober pace they marched, and often stayed, 

And through the master-street the corpse conveyed. 

The houses to their tops with black were spread, 

And even the pavements were with mourning hid. 

The right side of the pall old iEgeus kept, 

And on the left the royal Theseus wept ; 2220 



PALAMON AND ARCITE — Book III. 81 

Each bore a golden bowl of work divine, 

With honey filled, and milk, and mixed with ruddy wine. 

Then Palamon, the kinsman of the slain, 

And after him appeared the illustrious train. 

To grace the pomp came Emily the bright, 

With covered fire, the funeral pile to light. 

With high devotion was the service made, 

And all the rites of pagan honour paid : 

So lofty was the pile, a Parthian bow, 

With vigour drawn, must send the shaft below. 2230 

The bottom was full twenty fathom broad, 

With crackling straw beneath in due proportion strowed. 

The fabric seemed a wood of rising green, 

With sulphur and bitumen cast between 

To feed the flames : the trees were unctuous fir, 

And mountain-ash, the mother of the spear ; 

The mourner-yew and builder-oak were there, 

The beech, the swimming alder, and the plane, 

Hard box, and linden of a softer grain, 

And laurels, which the gods for conquering chiefs ordain. 

How they were ranked shall rest untold by me, 2241 

With nameless Nymphs that lived in every tree ; 

Nor how the Dryads and the woodland train, 

Disherited, ran howling o'er the plain : 

Nor how the birds to foreign seats repaired, 

Or beasts that bolted out and saw the forest bared : 

Nor how the ground, now cleared, with ghastly fright 

Beheld the sudden sun, a stranger to the light. 

The straw, as first I said, was laid below ; 
Of chips and sere-wood was the second row ; 2250 

The third of greens, and timber newly felled ; 



82 PALAMON AND ARCITE — Book III. 

The fourth high stage the fragrant odours held, 

And pearls, and precious stones, and rich array ; 

In midst of which, embalmed, the body lay. 

The service sung, the maid, with mourning eyes, 

The stubble fired ; the smouldering flames arise : 

This office done, she sunk upon the ground ; 

But what she spoke, recovered from her swound, 

I want the wit in moving words to dress ; 

But by themselves the tender sex may guess. 2260 

While the devouring fire was burning fast, 

Rich jewels in the flame the wealthy cast ; 

And some their shields, and some their lances threw, 

And gave the warrior's ghost a warrior's due. 

Full bowls of wine, of honey, milk and blood 

Were poured upon the pile of burning wood, 

And hissing flames receive, and hungry lick the food. 

Then thrice the mounted squadrons ride around 

The fire, and Arcite's name they thrice resound. 

" Hail and farewell ! " they shouted thrice amain, 2270 

Thrice facing to the left, and thrice they turned again : 

Still, as they turned, they beat their clattering shields ; 

The women mix their cries, and clamour fills the fields. 

The warlike wakes continued all the night, 

And funeral games were played at new returning light : 

Who naked wrestled best, besmeared with oil, 

Or who with gauntlets gave or took the foil, 

I will not tell you, nor would you attend ; 

But briefly haste to my long story's end. 

I pass the rest ; the year was fully mourned, 2280 

And Palamon long since to Thebes returned : 
When, by the Grecians' general consent. 



PALAMON AND ARCITE — Book III. 83 

At Athens Theseus held his parliament ; 

Among the laws that passed, it was decreed, 

That conquered Thebes from bondage should be freed ; 

Reserving homage to the Athenian throne, 

To which the sovereign summoned Palamon. 

Unknowing of the cause, he took his way, 

Mournful in mind, and still in black array. 

The monarch mounts the throne, and, placed on high, 
Commands into the court the beauteous Emily. 2291 

So called, she came ; the senate rose, and paid 
Becoming reverence to the royal maid. 
And first, soft whispers through the assembly went ; 
With silent wonder then they watched the event ; 
All hushed, the King arose with awful grace ; 
Deep thought was in his breast, and counsel in his face : 
At length he sighed, and having first prepared 
The attentive audience, thus his will declared : 

" The Cause and Spring of motion from above 2300 

" Hung down on earth the golden chain of Love ; 
" Great was the effect, and high was his intent, 
" When peace among the jarring seeds he sent ; 
" Fire, flood, and earth and air by this were bound, 
" And Love, the common link, the new creation crowned. 
" The chain still holds ; for though the forms decay, 
" Eternal matter never wears away : 
" The same first mover certain bounds has placed, 
" How long those perishable forms shall last ; 
" Nor can they last beyond the time assigned 2310 

" By that all-seeing and all-making Mind : 
" Shorten their hours they may, for will is free, 
" But never pass the appointed destiny. 



84 PALAMON AND ARCITE — Book III. 

" So men oppressed, when weary of their breath, 

" Throw off the burden, and suborn their death. 

" Then, since those forms begin, and have their end, 

" On some unaltered cause they sure depend : 

" Parts of the whole are we, but God the whole, 

" Who gives us life, and animating soul. 

" For Nature cannot from a part derive 2320 

" That being which the whole can only give : 

" He perfect, stable ; but imperfect we, 

" Subject to change, and different in degree ; 

" Plants, beasts, and man ; and, as our organs are, 

" We more or less of his perfection share. 

" But, by a long descent, the ethereal fire 

" Corrupts ; and forms, the mortal part, expire. 

" As he withdraws his virtue, so they pass, 

" And the same matter makes another mass : 

" This law the omniscient Power was pleased to give, 2330 

" That every kind should by succession live ; 

" That individuals die, his will ordains ; 

" The propagated species still remains. 

" The monarch oak, the patriarch of the trees, 

" Shoots rising up, and spreads by slow degrees ; 

" Three centuries he grows, and three he stays, 

" Supreme in state, and in three more decays : 

" So wears the paving pebble in the street, 

" And towns and towers their fatal periods meet : 

" So rivers, rapid once, now naked lie, 2340 

" Forsaken of their springs, and leave their channels dry : 

" So man, at first a drop, dilates with heat, 

" Then, formed, the little heart begins to beat • 

" Secret he feeds, unknowing, in the cell ; 



PALAMON AND ARCITE — Book III. 85 

" At length, for hatching ripe, he breaks the shell, 

" And struggles into breath, and cries for aid ; 

"Then helpless in his mother's lap is laid. 

" He creeps, he walks, and, issuing into man, 

" Grudges their life from whence his own began ; 

" Reckless of laws, affects to rule alone, 2350 

" Anxious to reign, and restless on the throne ; 

" First vegetive, then feels, and reasons last ; 

" Rich of three souls, and lives all three to waste. 

" Some thus ; but thousands more in flower of age, 

" For few arrive to run the latter stage. 

" Sunk in the first, in battle some are slain, 

" And others whelmed beneath the stormy main. 

" What makes all this, but Jupiter the king, 

" At whose command we perish, and we spring ? 

" Then 'tis our best, since thus ordained to die, 2360 

" To make a virtue of necessity ; 

l f Take what he gives, since to rebel is vain : 

r The bad grows better, which we well sustain ; 

" And could we choose the time, and choose aright, 

" 'Tis best to die, our honour at the height. 

" When we have done our ancestors no shame, 

" But served our friends, and well secured our fame ; 

" Then should we wish our happy life to close, 

" And leave no more for fortune to dispose ; 

" So should we make our death a glad relief 2370 

"From future shame, from sickness, and from grief; 

" Enjoying while we live the present hour, 

" And dying in our excellence and flower. 

" Then round our death-bed every friend should run, 

" And joy us of our conquest early won ; 



86 PALAMON AND ARCITE — Book III. 

" While the malicious world, with envious tears, 

" Should grudge our happy end, and wish it theirs. 

" Since then our Arcite is with honour dead, 

" Why should we mourn, that he so soon is freed, 

" Or call untimely what the gods decreed ? 2380 

" With grief as just a friend may be deplored, 

" From a foul prison to free air restored. 

" Ought he to thank his kinsman or his wife, 

" Could tears recall him into wretched life ? 

" Their sorrow hurts themselves ; on him is lost, 

" And worse than both, offends his happy ghost. 

" What then remains, but after past annoy 

" To take the good vicissitude of joy ; 

'f To thank the gracious gods for what they give, 

M Possess our souls, and, while we live, to live ? 2390 

" Ordain we then two sorrows to combine, 

" And in one point the extremes of grief to join ; 

" That thence resulting joy may be renewed, 

" As jarring notes in harmony conclude. 

" Then I propose that Palamon shall be 

" In marriage joined with beauteous Emily; 

" For which already I have gained the assent 

" Of my free people in full parliament. 

" Long love to her has borne the faithful knight, 

" And well deserved, had Fortune done him right . 2400 

" 'Tis time to mend her fault, since Emily 

" By Arcite's death from former vows is free ; 

" If you, fair sister, ratify the accord, 

" And take him for your husband and your lord, 

" 'Tis no dishonour to confer your grace 

" On one descended from a royal race ; 



PALAMON AND ARCITE — Book III. 87 

" And were he less, yet years of service past 

" From grateful souls exact reward at last. 

" Pity is Heaven's and yours ; nor can she find 

"A throne so soft as in a woman's mind." 2410 

He said ; she blushed ; and as o'erawed by might, 

Seemed to give Theseus what she gave the knight. 

Then, turning to the Theban, thus he said : 

" Small arguments are needful to persuade 

" Your temper to comply with my command : " 

And speaking thus, he gave Emilia's hand. 

Smiled Venus, to behold her own true knight 

Obtain the conquest, though he lost the fight. 

All of a tenor was their after-life, 

No day discoloured with domestic strife ; 2420 

No jealousy, but mutual truth believed, 

Secure repose, and kindness undeceived. 

Thus Heaven, beyond the compass of his thought, 

Sent him the blessing he so dearly bought. 

So may the Queen of Love long duty bless, 
And all true lovers find the same success. 



NOTES. 



DEDICATION. 

The Dedication is included in this volume because it is so thor- 
oughly characteristic of Dryden and because it so well represents 
a literary fashion prevalent in his time and in the century following. 
Its tone of fulsome compliment is the natural outgrowth of an age 
in which the literary and financial success of an author so often 
depended upon the favor of noble or influential patrons. It may 
be easily passed over, or, better still, read after the poem. 

The Duchess of Ormond here addressed was Lady Mary Somer- 
set, second daughter of Henry, the first Duke of Beaufort, and 
second wife of James, the second Duke of Ormond. To the Duke 
of Ormond, Dryden dedicated the whole collection of his Fables, 
Ancient and Modern, which contains translations from Homer, 
Ovid, Chaucer, and Boccaccio, and in which Palamon and Arcite 
is the first of a number of translations or imitations from Chaucer. 
In his address to the Duke, the poet says : " I have enjoyed the 
patronage of your family, from the time of your excellent grand- 
father * to this present day. I have dedicated the ' Lives of 
Plutarch' to the first Duke; and have celebrated the memory of 
your heroic father." 2 

i. The bard, etc. Chaucer, the first great English poet, who 
died in 1400. 



1 The first Duke of Ormond. See Dryden's Absalom and Achitophel, 
Part I., lines 817-863, where the Duke is described as Barzillai. 

2 The Earl of Ossory. See Absalom and Achitophel, /Part I., lines 
829-839. 



NOTES. 89 

His Knightes Tale, of which Palamon and Arcite is an imita- 
tion, is the first of The Canterbury Tales, and derives its name 
from the fact that it is the story told by the Knight, the most gentle 
and courtly of Chaucer's Canterbury pilgrims. 

4. And leaves a doubtful palm, etc. And which leaves it 
doubtful whether Virgil's verse should still bear the palm. 

6. Of love sung better. In The Knightes Tale, The Clerkes 
Tale, Troylus and Cryseyde, Legende of G code Wo men, etc. 
And of arms as well. In The Knightes Tale, etc. 

8. What power, etc. As shown in the story of Palamon and 
Arcite. 

II. Best idea. Best ideal of womanhood. 

14. Plantagenet. The name of the royal family reigning in 
Chaucer's time. The allusion may be to Blanche, first wife of John 
of Gaunt, son of Edward III., in memory of whom Chaucer wrote 
his Dethe of Blaunche the Duchesse. Others suggest " the Fair Maid 
of Kent," granddaughter of Edward I. She was married three 
times, which might explain the next line. Her second husband 
was the Earl of Salisbury; her third was Edward, the Black Prince, 
by whom she was the mother of Richard II. 

18. Noblest order. Probably the Order of the Garter, which 
is traditionally said to have owed its origin to the Countess of Salis- 
bury, " the Fair Maid of Kent." 

29. Born of her blood. The Duchess of Ormond was descended 
from John of Gaunt, and was therefore of Plantagenet blood, and 
" of equal kindred to the throne" (line 19). 

Platonic year. A period of time at the end of which all the 
planets were supposed to come into conjunction; the time occupied 
by a complete revolution of the equinoxes; about 26,000 years. 

31. Fatal. Fated. 

33. His Emily. The heroine of Chaucer's Knightes Tale. 

34. Had you lived. In the time of which Chaucer writes. 



90 PALAMON AND ARCITE — Dedication. 

The doubtful right. The doubt as to whether Palamon or 
Arcite had the right to Emily. 

35. Your noble Palamon. The Duke of Ormond. 

36. Theseus. See Palamon and Arcite, line 2 and note. 

38. Time shall accomplish that. Time shall bring the due 
honors to the Duke and Duchess of Ormond, who did not live early 
enough to be honored in Chaucer's story. 

40. The Fates. According to the Greek mythology, the three 
Fates, Clotho, Lachesis, and Atropos, controlled human and divine 
destinies. For this and other classical allusions, consult classical 
dictionary. 

42. When westward, etc. The Duke of Ormond had received 
a grant of Irish lands from Parliament; and Dryden here refers 
to the departure of the Duchess for Ireland. She went in the 
autumn of 1697, and was later followed by the Duke. 

44. Blue Triton. Son of Poseidon and Amphitrite, who con- 
trolled the waves by blowing on a conch-shell. Blue is suggested 
by the color of the sea. 

45. Nereids. Sea-nymphs, daughters of Nereus, a sea-god. 

46. A soft Etesian gale. Etesian signifies yearly. The term 
is applied to annual northerly winds that prevail over the eastern 
Mediterranean during the dog-days. Does soft gale involve a con- 
tradiction in terms? 

47. Inspired. Breathed upon. 

48. Portunus. The god of harbors; from portus, a harbor. 

" Et pater ipse manu magna Portunus euntem 
Impulit." Virgil's JEneid, Book V., lines 241-242. 

49. An imitation of 

" levat ipse tridenti, 
Et vastas aperit Syrtis." ALneid, Book I., lines 145-146. 

53. Hibernia. Latin and poetical name of Ireland. 



NOTES. 91 

54. In you, the pledge, etc. The coming of the Duchess was 
a promise of the later coming of the Duke. 

58. Kerns. Irish light-armed infantry; peasants. 

59. Nor hear the reins. An imitation of classical expression. 
Bear has been suggested instead of hear, but there is no need of 
change. 

63. Venus, etc. The planet Venus, as the morning star, heralds 
the rising of the sun. In line 42, Dryden has likened the Duchess 
to the sun; here she is Venus, while the sun is Ormond himself. 

64. Waste of civil wars, etc. Wars of the Revolution. For a 
vivid account of the miserable condition of Ireland at this time, see 
Macaulay's History of England. 

65. Pales. A goddess who presided over cattle and pastures. 
Ceres. The goddess of agriculture. 

70-71. See Genesis, viii., 8— II. 

72. Relics of mankind. Noah and his family. 

77. See Genesis, ix., 11-16. 

70-79. What things are compared in these lines, and how far 
is there a true parallel? 

81. Millenary year. Period of a thousand years; millennium. 
Dryden here speaks of the return of the Duchess to Ireland in 
terms which suggest the second coming of Christ. Is the implied 
comparison in good taste? 

85. The holy isle. Ireland; so called because of its zealous 
devotion to Christianity from the earliest times. 

87. Venom never knew. Ireland is said to be free from ven- 
omous reptiles. 

90. This interval. The interval which she spent in England 
after her first sojourn in Ireland. 

96. The vanquished isle. Ireland; alluding to the various 
English conquests of the island. 
Attend. Await. 



9 2 



PALAMON AND ARCITE — Dedication. 



99-100. Genesis, viii., 8-12. 

102. Her sickness. The Duchess had been ill during her stay 
in England. 

103-105. The words lustre, shone, and eclipse recall Dryden's 
comparison of the Duchess to the sun. He has just previously, 
however (line 101), referred to her as a messenger. 

105. Wade. Used in the older and broader sense of go or 
move. 

107-1 10. Fill out Dryden's thought here so as to show its 
application to the Duchess. 

117. The four ingredients. The four elements (as they were 
once considered), earth, air, fire, and water, considered as making 
up her body. 

125. Young Vespasian. The Roman Emperor, Titus, the son 
of Vespasian, who is said to have wept at the destruction of the 
Temple at Jerusalem. 

127-128. And I prepared, etc. Prepared to write her elegy, 
in case of her death, an " act of gratitude " the necessity of which 
he would have " detested." 

130. Table of my vow. The poem itself, considered as a 
tablet on which is written his vow to celebrate her return to health. 

131. Your angel. Your guardian angel. 
Morley. Dr. Morley, her physician. 

133. The Macedon. Alexander the Great, king of Macedon 
(356-323 B.C.). 

Jove. Jupiter, chief divinity of the Romans; usually equivalent 
to Zeus, king of the gods in the Greek mythology. 

134. Ptolemy. One of Alexander's generals, founder of the 
Ptolemaic dynasty in Egypt. 

135. Which had such over-cost bestowed. Which had taken 
such exceeding pains in framing the body of the Duchess. 



NOTES. 93 

137. So liked the frame, etc. Heaven was so much pleased 
with her bodily frame that it preferred to preserve that rather than 
create another. 

He. Refers to heaven. Notice that it is used in the previous 
line referring to the same antecedent. 

138. To save the charges, etc. Heaven so decreed as to save 
the trouble of creating another such as you. 

139. His and he both refer to heaven in the previous sentence 
(line 135). 

Middle science. Science midway between the natural science 
of the physician and the infinite knowledge and power of Heaven. 
Middle science seems to be almost synonymous with miracle in line 
141. 

140. Contingent good. Possible or probable good. 
145. Kind. Race or family. 

147. The hopes of lost succession, etc. The lost hopes of 
succession (of an heir to succeed) to your lord. 

148-150. Joy, Virtue, Graces, and Muse are all objects of 
restored. 

148. Joy to the first and last of each degree. By the recov- 
ery of the Duchess, Heaven has restored joy to the highest and the 
lowest in each degree or station in life. It has also, in her person, 
restored " virtue to courts" (line 149). 

150. To you the Graces. The Graces were three goddesses of 
classical mythology who embodied and conferred grace, beauty, and 
joy; they are usually represented as attendants of Venus, and are 
commonly named Euphrosyne, Aglaia, and Thalia. The meaning 
is that returning health had restored to the Duchess her former 
beauty and grace. 

The Muse to me. The Muses were nine goddesses of classical 
mythology, who presided over different departments of poetry, art, 
and science; the word is commonly used in the singular to denote 
the presiding goddess of poetry. Dryden means that the Duchess 



94 PALAMON AND ARCITE — Book I. 

had been restored to him as his Muse, or that her recovery has 
revived his poetical powers. 

151. Daughter of the rose. The red and white roses were 
respectively the symbols of the rival houses of Lancaster and York, 
in the fifteenth century. The Duchess of Ormond was a descend- 
ant of the house of Lancaster. 

153. Who. The antecedent is clieeks (line 151). 

156. Has placed a cherubin. As at the gate of Paradise. 
Cherubin, or cherubim, is really the plural of cherub, but is here 
used as a singular. 

158. Penelope. The wife of Ulysses, faithful to her husband 
during his twenty years' absence from home. See Homer's Odyssey, 
the story of the wanderings of Ulysses. 

160. Curious. Careful, ingenious. 
Paints. Embroiders. 

162. Ascanius. Son of ^Eneas, otherwise called lulus. 
Elissa. A name of Dido. 

See Virgil's sEiieid, and classical dictionary. 

163. Recesses. Recess has here the older meaning of seclu- 
sion or privacy. 

164. Three fair pledges, etc. Her three daughters. 
166. The Duchess never had a son. 

168. The garter. The badge of the Order of the Garter. 

His mother's race. The race of Plantagenet. The royal 
founder of the Order of the Garter was Edward III., in 1334. See 
notes to lines 18, 29, and 14. 

BOOK I. 

2. Theseus. Mythical Greek hero and king of Athens. For 
this and other classical allusions, consult classical dictionary. 

7. Scythia. The region north of the Black Sea. 



NOTES. 95 

The warrior Queen. Hippolyta, queen of the Amazons. Ac- 
cording to another story, she had been already slain by Hercules. 

12. To friend. For friend; an idiom as old as the Anglo- 
Saxon period. Compare " We have Abraham to our father." 

Matthezv, hi., 9. 

17. Amazons. A nation ruled by warlike women. Their girls 
were brought up with martial discipline; their boys were banished 
or put to death. 

18. Hardy Queen. Hippolyta. 

Hero Knight. Theseus. Dryden follows Chaucer in applying 
to Greek life the terms of medieval chivalry. Observe this through- 
out the poem. 

21. The spousals of Hippolyta. Her marriage to Theseus. 

23. The storm at their return. Probably the commotion of 
rejoicing and congratulation. Possibly a storm at sea on their way 
home; this would better account for "the ladies' fear." Chaucer's 
expression is : 

"And of the tempest at hir hoom-cominge." 

25-26. I have a large task, and my ability is small. Compare 
Chaucer : 

" I have, God woot, a large fe'eld to ere, 
And wayke been the oxen in my plough." 

30-33. In the Prologue to Chaucer's Canterbury Tales, the 
pilgrims agree, at the suggestion of the host of their inn, to tell two 
tales each on their way to Canterbury, and two returning, with the 
understanding that the best story-teller shall have a supper at the 
cost of the others when they shall again arrive at the inn. It is to 
this agreement that Dryden here alludes. 

36. In hope that some one later may tell a better story. 

41. Quire. Choir, company. 

48. Pageant. Is this an appropriate word? 

50. Triumph. Triumphal procession. 



96 PALAMON AND ARCITE — Book I. 

Weeds. Mourning-garb. Originally weed (Anglo-Saxon toad) 
meant simply a garment. 

55. The most in years, etc. Chaucer is simpler: 

"The eldest lady of hem alle spak." 

56. Sounded. Usually swounded, meaning swooned. Chaucer 
has swowned. 

57. Nor. Neither. An old or poetic usage, frequent in this 
poem. See lines 151, 251. 

62. Of thy goodness. By thy goodness. An archaic usage. 
Compare " Then was Jesus led up of the spirit into the wilder- 
ness to be tempted of the devil." Matthew, iv., 1. 

76. Capaneus. One of "The Seven against Thebes" (see 
^Eschylus' drama of that name, and classical dictionary). He de- 
clared that he would enter the city in spite of Jupiter, but was, 
struck by a thunderbolt while scaling the wall. 

79. To make their moan. Making their moan. 

81. Creon. Tyrant of Thebes. Forbade the funeral rites to 
the dead, as related in the poem. 

94. As. As if. 

107. His sister. Emilia, sister of his queen Hippolyta (see 
line 10). 

109. Argent. Literally, silver. The field of the banner was. 
white, this color being used in heraldry to represent argent. 

The God of War. Called Ares by the Greeks, Mars by the 
Romans. It will be observed that the poem uses Roman names 
frequently, though dealing with a story of Greek life. 

1 16. His Cretan fight. See classical dictionary for full account 
of the fight of Theseus with the Minotaur in the labyrinth of King 
Minos of Crete. 

Minotaur. A monster with the head of a bull and the body of 
a man. 



NOTES, 97 

117. Generous rage. Noble or courageous excitement. 

118. In that victory. The victory of Theseus over the Mino- 
taur, represented on the pennon. 

•122. Saw the city. The city of Thebes. 

131. I spare. I spare to tell of. 

132. Howling. What do you think of the use of this word in 
this connection? 

143. Whom first to death they sent. Does the imagination 
easily conceive how the two knights could be buried under a load 
of foes whom they themselves had slain? 

146. The heralds judged from their armor that they were of the 
royal blood. 

147. Equal arms. Arms of the same kind. 

148. Surcoats. Loose robes worn over the armor. 

153. To part. To depart. 

155-156. And Arcite one . . . with valiant Palamon. Dry- 
den simply means to say that one was called Arcite, the other 
Palamon. He does so very awkwardly. Chaucer says : 

" Arcita hight that oon, 
And that other knight hight Palamon." 

159. Whom, when they were known to be of Creon's line, and 
when they were cured with care. 

164. With laurels crowned. Laurel was a symbol of victory. 

169. The morn of cheerful May. The first day of May. 

175. The observance of May-day as a festival in honor of spring 
was very common and very ancient in England. 

177. The vigils of her night. The night before May was 
spent in pastimes in the woods; and in the morning, the people 
returned laden with branches and flowers to deck their homes. 
H 



98 PALAMON AND ARCITE — Book 

i 86. Aurora. Goddess of morning. 

197. Notice the use of sung where we should now use sang. 

199. Philomel. The nightingale. For explanation of the 
name, consult classical dictionary. 

204. Probably means that the tower formed one side of the 
palace, which was built in the form of a quadrangle. See next line. 

213. Regard. Look, glance. 

215. Spires. Hardly in keeping with classical architecture. 
Why? 

217. The whole city was to him but a larger jail. 

223. With arms across. With arms folded. 

232. Inevitable charms. What does inevitable mean here ? 

240. Cheer. Countenance. 

242. If hard captivity is your only grief. 

245. Horoscope. Meaning ? 

246-247. The planet Saturn was in the dungeon of the sky, or 
there was some other evil appearance of the stars, when we were 
born. This is, of course, an allusion to the common belief that the 
stars ruled the fates of men. 

252. Unhappy. Causing unhappiness. 

256. Insensible decay. Meaning of insensible here? 

257-258. Actceon, having beheld the goddess Diana bathing, 
was turned by her into a stag, and was chased and killed by his 
own dogs. 

260. Juno. Wife of Jupiter and queen of the gods. 

261. Cyprian queen. Venus, the goddess of love, called 
Cyprian because the island of Cyprus was a favorite seat of her 
worship. 

264. Habit. Dress. 



NOTES, 99 

265. Scape. Escape. 

266. Past. Passed or fixed. 

272. The fatal dart. The dart of Love. Cupid, the god of 
love, was represented as piercing the hearts of his victims with his 
arrows. 

280. Nor ask alone. And not only ask. 

292. The common good of both should be the same. 

299. On the plain. On the field of fight. 

300. Appeach. Impeach. 

301. Council. Counsel. See line 308. 

309. Art bound to assist me because my right is older. 

329. Positive. Made by arbitrary enactment, as opposed to 
natural laws. 

332. Vindicate the common cause. Vindicate the natural 
cause of love as opposed to arbitrary laws. 

333S36. This exaggerated figure is original with Dryden. 

342. iEsOp. Greek writer of fables, sixth century B.C. 

346. Justle for a grant. Jostle each other in their eagerness 
to receive a grant from the monarch. 

358. Pirithous. Thessalian prince, king of the Lapithae. The 
friendship between him and Theseus is famous in classical story. 
For full account, consult classical dictionary. 

360, 364. On these points, both Chaucer and Dryden differ 
somewhat from classical accounts. 

380. For his life must pay. That is, his life must pay the 
forfeit in case he should venture to return. 

382. Finds his dear purchase. Finds his liberty bought at 
too dear a price. 

383. In prison pent. As compared with being " in prison 
pent." This would seem to be Dryden's thought, though it is not 
fully expressed. 



ioo PALAMON AND ARCITE — Book I. 

390. What is the force of besides in this line? Does it change 
the meaning that Dryden evidently intended? 

404. The precise meaning is not clear. Perhaps extremest Line 
means the remotest line or rank in which it is possible to enjoy 
love at all. Palamon could enjoy the sight of Emily, though far 
removed from the attainment of his desires. Arcite was not in the 
line at all. 

408. Various. Varying. 

414-416. Notice that Dryden changes from audio nor as a con- 
nective. We get the true meaning by understanding nor through- 
out the sentence. Chaucer uses the negative form throughout : 

" That ther nis erthe, water, fyr, ne eir, 
Ne creature, that of hem maked is, 
That may me helpe or doon confort in this." 

422. Wants. Needs. 

427. When guilty of their vows. When they are freed from 
prison and are therefore under the obligation of the vows which 
they had made on condition of such freedom. A Latinism, " voti 
reus" (sEneid, V., 237). 

434. Uncertain place. Certain in reality (see line 433), but 
uncertain to him in his drunken condition. 

441. Starve. Die, the older meaning of the word. Compare 
German sterben. 

442-449. Notice the mingling of tenses here. 

457. Vindicate. Avenge. 

469. Constrains. Meaning ? 

474. What. In what respect. 

475. His. The unexpressed antecedent is man, suggested by 
human kind. Compare he in next line. 

484. Estate. State or condition. 



NOTES. 101 

492. At unaware. Unawares; that is, so far as the victim is 
concerned. 

493. Forelays. Waylays. 
495. Thrids. Threads. 

498. Through. On account of or by means of. See lines 
246-247. 

499. The goddess Juno was hostile to Thebes. 

500. In a quartil. An astrological term denoting that two 
planets (here Mars and Venus) are at an angle of 90 degrees with 
reference to each other. A sign of evil. Here regarded as moving 
the jealousy of Palamon against Arcite. 

515. This play on words is Dryden's. Chaucer says 

" That other wher him list may ryde or go, 
But seen his lady shal he nevere-mo." 

531. Boxen. Of the box-tree. A now obsolete example of 
the old adjectives ending in -en. Wooden is a familiar modern 
illustration. 

537. Swound. Swoon. See line 56 and note. 

538. Deaf. Dull. 

540. Trim. Adornment. 

541. Museful. Meaning? 

542. Rage. Madness. 

547. Hermes. A Greek deity, called by the Romans Mercury; 
the messenger of the gods. 

549. Adorned with wings. Symbols of his swiftness. Hermes 
is commonly represented with wings on his hat and on his ankles. 

550. Sleep-compelling rod. The caduceus, a wand twined 
with two snakes and surmounted by wings. It was presented to 
Hermes by Apollo, and possessed magical power over sleep and 
dreams. 



102 PALAMON AND ARCITE — Book II. 

551. His sire. Jupiter. See Dedication, line 133 and note. 

552. Argus. A hundred-eyed being whom Hermes put to 
sleep with his wand, and then slew at the command of Jupiter. 

554. A hidden prophecy of Arcite's death. Compare line 558. 

584. Still. Ever. 

In his master's eye. Where he could be seen by his master, 
the chamberlain. Compare the last line of Milton's famous sonnet 
On his being arrived at the age of twenty-three : 

" As ever in my great task-master's eye." 

590. Philostratus. Properly Greek QiXoo-rparos, " army 
lover." The word is here used, however, as though the last part 
were from the Latin stratus, making the name mean " prostrated 
by love." 

593. Gentle of condition. Noble of disposition. 

607-608. With large increase, etc. With large increase of 
honor in arms and of esteem in peace. 

BOOK II. 

620. The line means that May had arrived, when the sun 

entered the sign of the zodiac known as the Twins. 

622. Which first forms in its causes whatever is to be. 

628. Unaware. Unaware of its nature. 

629. Secure. Not safe, but careless; see derivation of the 
word. 

644. Style. Pen (Latin, stylus), or perhaps the word is used 

somewhat freely in its ordinary sense as about equivalent to account. 

647-650. The corresponding lines of Chaucer are finely poetical : 

" The bisy larke, messager of daye, 
Salueth in hir song the morvve graye; 
And fyry Phebus ryseth up so brighte, 
That al the orient laugheth of the lighte." 

652. Dropping leaves. Leaves dropping moisture. 



NOTES. 103 

659. The grove I named before. Where Palamon was hidden. 
See lines 631-634. 

665. The Graces. See Dedication, line 150 and note. 

668. In June, the sun nears the tropic of Cancer, and appears 
to move more slowly. 

693. Venus's day is Friday, which takes its name from Freya, 
the counterpart of Venus in the Norse mythology. 

702. Jealous Queen. Juno. See line 698 and line 499 and 
note. 

703. Cadmus. The founder of Thebes. 
The Theban city was. But is no longer. 

703-705. The family of Cadmus seemed to be under a fatality 
because he had incurred the wrath of Mars and his mother Juno 
(see line 714) by slaying a dragon sacred to the former. 

706. For my blood. On account of my kin. 

713. That side of heaven. The gods and goddesses who 
sided with Juno and Mars. 

726. The temple. His heart. Lines 725-726 are borrowed 
bodily from Carew's A Cruel Mistress, and are of course not found 
in Chaucer. 

742. Against thy vow. Contrary to the agreement made with 
Theseus. See lines 373-378. 

757. I renounce the pledges of friendship which 1 formerly 
gave thee. Compare lines 286-310. 

758. Compare lines 326-336. 

791. Thracian. Thrace was the wild and savage country north 
of Greece. 

798. Generous dullness. Brave coolness. 

802-803. Each armed, etc. Each helped to put on the armor 
of his professed foe, as if he were his brother. 
807. Their corslets. Each other's corslets. 
822. Fatal sway. Sway or rule of Fate. 



104 PALAMON AND ARCITE — Book II. 

842. The goddess of the silver bow. Diana, so called because 
she was the goddess who patronized hunting. 

845. Laund. An open grassy space surrounded by woods. 
Modern English lawn. 

Supply was after fought. 

846. Uncoupled. Let loose from the leash by which the 
hounds were tied together. 

851. Looking underneath the sun. As he looked toward the 
east, the sun appeared above the heads of the combatants, and so 
he might be said to look " underneath the sun." 

861. The race was ended in the same minute in which it was 
begun. 

868. Listed field. Properly a field surrounded with lists where 
combats were fought. 

869-870. A reference to the ordinary regulations for combats 
in the lists. 

902. " And life itself," as compared with liberty, is " the inferior 
gift of heaven." 

918. Mars, the patron of my arms. Compare lines 108- no 
and note. 

924. The contended maid. Emily, the maid who was being 
contended for. 

930. They. The wounds. Another reading gives for instead 
of from in line 931, in which case they would refer to Palamon and 
Arcite. 

937. Implored the offenders' grace. Implored grace for the 
offenders. 

948. He . . . he. First, Palamon; second, Theseus. 

950. Under. Down. 

971. In their own despite. In spite of themselves, or to their 
own disadvantage. 

974-975. The proverb holds, etc. "Attributed to Publius 
Syrus : ' Amare et sapere vix deo conceditur.' " — SAINTSBURY. 



NOTES. 105 

1017-1018. On the day when the sun has run through all the 
signs of the zodiac, and has returned to the same point where it is 
now, i.e., in one year from to-day. 

1023-1024. So far, etc. So far that he is able to force his 
opponent outside of the barriers at the ends of the lists. 

1026. The prize, etc. Emily. 

103 1. Each knight usually had a patron; Theseus will be a 
patron impartially to both. 

1046. Our historian. The poet himself. 

1055. Degrees. Steps: the sides of the amphitheatre rose in 
terraces of seats. 

1057. Each step was high enough so that the man above could 
see over the head of the man on the step next below. 

107 1. Myrtle. Associated with Venus. Compare lines 1128 
and 1363. 

1072. Dome. Building, temple. 
Opposed. Opposite. 

1075. The Queen of Night. Diana, who is associated with 
the moon. She is also the goddess of hunting and of chastity. See 
next line and line 842 and note. 

1079- 1080. Where every figure represented, as if alive, the 
power of the divinity in whose honor it was made. 

1081. On the sides. Painted on the walls. 

1082. Lovers who were painted as though in uneasy slumber. 

1083. Prayers that even spoke. Praying men and women 
who were painted so lifelike that they almost seemed to speak. 

1084. Sighs were painted like smoke issuing from the mouth. 
1093. Sigils, etc. Seals made in the hours of certain planetary 

conjunctions, and engraved with planetary signs. 
1097. Suffused. Suffused with color. 
1099. Down-looked. Down-looking. 
A cuckow. A cuckoo, symbol of deception. 



106 PALAMON AND ARCITE— Book II. 

1108. Idalian mount. A mountain near Idalium in Cyprus, 
sacred to Venus. 

Citheron. A mountain range (Cithgeron) south of Thebes, 
sacred to the gods. Later in the poem spelled Cytheron. See line 
1421. 

1 1 1 2. Narcissus. A beautiful youth who fell in love with his 
own reflection in a pool and starved there because he was unable 
to tear himself away. 

1 1 13. Samson. See Judges, xiii.-xvi. Chaucer mentions 
Hercules instead of Samson. 

Solomon. See 1 Kings, xi. 

1 1 15. Medea. A sorceress, daughter of Tietes, king of Colchis. 
For love of Jason, she used her magic spells to help him secure the 
golden fleece, to restore his father ^son to life, and to take ven- 
geance upon his second wife, Creusa. 

Circean feasts. Circe was an enchantress in Homer's Odyssey, 
who changed men into beasts by giving them drugged wine. See 
next line. 

1 1 23. Venus was fabled to have been born from the foam of 
the sea. 

1 129. Turtles. Turtle-doves, sacred to Venus. 

Buxom. Soft, yielding. 

1 131. His eyes were banded o'er. Signifying that Love is 
blind. 

1130-1133. Cupid is usually represented with wings and with 
bow and arrows wherewith he wounds human hearts. 

1 137. The first in Thrace. The first temple of Mars, which 
was built in Thrace. See note on line 791. 

1 140. The landscape. That is, the landscape painted on the 
wall of the temple. 

1 146. Knares. Gnarls. 

1 155. The temple. The temple which was pictured on the 
wall. 



NOTES. 107 

1 1 68. A tun about was every pillar. Every pillar was the 
size, round about, of a tun or huge cask. 

1 181. Cloisters. Colonnades around a square open court; 
usually part of a monastery (compare "holy lawn," line 1182) and 
a place therefore naturally associated with peace rather than war. 

1183. Were heard, etc. Dryden is speaking of things repre- 
sented in a picture, but imagines himself to hear as well as to see. 

1 1 87. Clottered. Clotted. 

1202. Mars his nature. Mars's nature. Our modern pos- 
sessive does not arise from this use of his, but from the -es genitive 
ending of many Anglo-Saxon nouns. 

1 210. Conquest. Conquest is here personified as a man. See 
his, line 1 21 2. 

1 214. Mars his ides. Mars's ides, the ides of March, the 
15th of March, day on which Csesar was assassinated, B.C. 44. 

The Capitol. The Capitol of Rome. Caesar was not slain in 
the Capitol, as Dryden here seems to imply, but in the Curia built 
by his great rival Pompey. Chaucer does not mention either place. 

1215. Caesar was bidden by a seer to "beware the ides of 
March," but the warning was unheeded. 

1 216. The last Triumvirs. Octavius, Antony, and Lepidus. 

1 21 7. Antony. Marc Antony, who possibly might have won 
the battle of Actium had not his love for Cleopatra led him to for- 
sake the combat in order to follow her retreating ship. 

1220. All copied from the heavens. All these fates of men 
still to be born were learned by studying the stars after the fashion 
of the astrologers. 

1 221. The red star. The planet Mars. Throughout this 
description there is much confusion between Mars the planet and 
Mars the god of war. 

1224. Geomantic figures. Figures made for purposes of divi- 
nation, by arrangement of dots on the ground (originally) or on 
paper. Two such figures were in the painting above the head of 
Mars, each representing a constellation. See note on next line. 



108 PALAMON AND ARCITE — Book II. 

1225. A warrior and a maid. Chaucer says: 

" And over his heed ther shynen two figures 
Of sterres, that been cleped in scriptures, 
That oon Puella, that other Rubeus." 
It will be evident that Dryden's two " geomantic figures," the maid 
and the warrior, are derived from Chaucer's " two figures of stars," 
Puella and Rubeus. 

1226. The warrior (Rubeus) was the significant figure when 
Mars was " direct," i.e., moving from west to east, with the signs 
of the zodiac; the maid (Puella) was the significant figure when 
Mars was "retrograde," i.e., moving from east to west, backward 
in the signs of the zodiac. Mars the planet is here again confused 
with Mars the god. 

1229. Was drawn. On the walls of the temple. 

1230. Shades. Trees. 

1 23 1. Silver Cynthia. Diana, called "silver" because of her 
association with the moon. Compare line 1075 and note. 

1233. Calisto. A nymph of Diana, changed into a bear by 
Juno, and by Jupiter placed as a star in the constellation of the 
Great Bear. See next line. 

Manifest of shame. With her shame disclosed. 

1235. Her son. Areas, son of Calisto, placed by Jupiter in the 
constellation of the Little Bear. 

1236. In the cold circle. The constellations of the Bear are 
within the Arctic circle. 

Held the second place. Next to his mother, Calisto. 

1240. Mistaken master. Master mistaken by his hounds. 

1241. Peneian Daphne. Daphne, daughter of the river-god 
Peneus, a nymph beloved by Apollo and changed by Diana into a 
laurel tree, which became sacred to Apollo. See next line. 

1243. The assembled Greeks expressed. Represented the 
assembled Greeks. 

1244. Calydonian beast. A famous boar sent by Diana to 
ravage Calydonia. 



NOTES. 109 

1245. (Enides. Meleager, the son of (Eneus, king of Caly- 
donia. 

His envied prize. The head and hide of the boar which Meleager 
was eager to slay. 

1246. Atalanta. A Grecian maiden huntress, renowned for 
her prowess and fleetness of foot. She joined in the hunt of the 
boar, and the love of Meleager was excited by " the fatal power of 
Atalanta's eyes." 

1247. Meleager slew his mother's brothers in a quarrel over 
the spoils of the boar, and was doomed to death by " Diana's ven- 
geance on the victor shown." 

1248. At the birth of Meleager, it was revealed by the Fates 
that he should die as soon as a brand then burning on the hearth 
was consumed. His mother, Althea, snatched the brand from the 
hearth, and carefully preserved it. When news came to her that 
Meleager had slain her brothers, she threw the brand upon the 
fire again, and Meleager wasted away as it burned. She, therefore, 
is called " the murderess mother," and he the " consuming son." 
Compare Swinburne's Atalanta in Calydon. 

1249. The Volscian queen. Camilla, slain in the wars of 
vEneas in Italy. 

1250. The slayer of Camilla was put to death by Diana. 

1259. A wexing moon. A waxing or crescent moon, symbol 
of Diana. 

1 260. Drinking borrowed light. Reflecting the light of the sun. 
1262. The dark dominions. The region under the earth, where 

the moon-goddess Diana held sway for a part of the year, alternating 
with her sway in the upper sky. See lines 1493-1494. 

1264. Lucina. The goddess who brings to light; a Latin title 
of Diana as goddess of childbirth. 

1267. Feign. Imitate. 

1268. Mend. Improve upon, make more striking than life. 

1 271. Dryden reminds the princes of his time that they should 
regard their poets as Theseus did his artists. This is not in Chaucer. 



PALAMON AND ARCITE — Book III. 



BOOK III. 

1 296-1 297. If England had selected her best, half the cham- 
pions would have come from there, leaving the remainder of the 
world to provide the rest. The compliment is not found in 
Chaucer. 

1300. Several. Various. 

1304. Juppon. A short leather coat. Chaucer's word is 
gipoun. 

1307. Pruce. Prussia. 

131 1. Jambeux. Pieces of armor for the legs. 

1315. Lycurgus. Termed "surly" because he persecuted 
Bacchus (see line 1375 an d note) and his worshippers, i.e., was 
opposed to the pleasures of the wine-cup. Not to be confused with 
Lycurgus the Spartan law-giver. 

1339. Emetrius. Mentioned by Chaucer, but not by Boccaccio 
or Statius. See page 138. 

Inde. India. 

1358. Chaucer says his age was " of fyve and twenty yeer." 

1375. Bacchus. The god of wine; travelled even to India 
teaching the cultivation of the vine; usually attended by animals, 
especially the tiger, the panther, and the lynx. 

1376. Honest. Latin honestus, fair, noble. 

1377. The war. The warlike troop. 

1389-1390. How the knights addressed their vows. To 
what ladies they paid their attentions. 

1394. To sing about their vigils in preparation for the next 
day. 

1400. Preventing. Anticipating. 

1410. Thy month. The month of May. 

1422. Increase of Jove. " Doughter to Jove." — Chaucer. 

Companion of the Sun. Probably an allusion to Venus as the 
morning star. See Dedication, line 63 and note. 



NOTES. in 

1423. Adonis. A youthful hunter, vainly loved by Venus. 

1444. Fifth orb. Each planet is conceived of as placed in a 
separate " orb " or sphere, the sphere of the earth being in the 
centre. The " orb " of Venus was properly third rather than fifth 
from this centre. Venus the planet is confused with Venus the 
goddess. 

1445. Clue. Thread. Human lives were conceived of as 
threads spun and cut off by the Fates. 

1448. The Sisters. The Fates. See Dedication, line 40 and 
note. 

1447-1448. Let my life have a little of love in it, and then let 
the Fates cut it off when love shall cease. 

1450. The yarn of some old miser's heap. The life-thread 
of some old miser, who already has a " heap " of life-thread. 

1452. Beyond mortality. Beyond the hope of a mortal. 

1463-1464. The day to distance driven. The day when his 
hopes should be realized was still distant. 

1472. The Moon. Diana, the moon-goddess. 

1476. Uncouth. Unknown. 

1484. Mastless. Without mast or acorns. 

i486. Either altar. Chaucer speaks of only one altar, but 
two fires. 

1488. Statius. A Roman poet, author of the Thebaid, an 
epic story of Thebes. 

1493-1494. See line 1262 and note. 

1497. Niobe's devoted issue. Niobe's ill-fated children. 
Niobe, proud of her numerous offspring, boasted herself superior 
to Latona, the mother of only Apollo and Diana. In revenge 
these two slew with their arrows Niobe's seven sons and seven 
daughters. Niobe herself was changed to stone. 

1498. Feathered deaths. The arrows of Apollo and Diana. 
1505. Servant. Lover. 



ii2 PALAMON AND ARCITE — Book III. 

1 508- 1 509. Thy triple shape, etc. In heaven, Cynthia the 
moon ; on earth, Diana the huntress ; in hell, Proserpina the queen 
of Hades. 

1530. Victor-flame. So called because it remained bright 
while the other sank down. The first flame, sinking for a moment 
and then reviving, represents Palamon (see lines 1555-1556). The 
second, first " victor " and then utterly extinguished, represents 
Arcite. Follow out the parallel as you read the poem further. 

1534. At either end. At either end of the burning brand. 
Whistled as it flew. Chaucer says : 

"And as it queynte [quenched], it made a whistelinge." 
1543. The Power. The goddess, Diana. 

1545. As for the rest {i.e., aside from her symbols of the " bent 
bow" and " keen arrows"), she appeared simply "a huntress issu- 
ing from the wood." 

1546. Cornel spear. Spear made of cornel wood. 

1553. But which the man. But which is to be the successful 
man. 

Thunderer. Jupiter, who yet holds in his own breast the re- 
sult of the combat. 

1560. A sister of the wood. A maiden of the wood-goddess 
Diana. See lines 1520-1523. 

1 566-1 567. Each hour of the day was ruled by some one of the 
seven heavenly bodies (see line 1567 and note), according to a sys- 
tem of allotment which need not here be explained (for full expla- 
nation, see Skeat's Chaucer, V., 86). The reference here is to the 
next hour that was ruled by Mars. 

1567. Heptarchy of power. The power of the seven bodies of 
the solar system then known. 

1575. Where stand thy steeds. The horses of Mars were the 
offspring of the North Wind and a Fury. 

1 59 1. The public care of all above. Dear to all the gods. 

1596. Vulcan. The god of fire and artificer in metals; hus- 



NOTES 113 

band of Venus. Finding Mars and Venus making love to each 
other, he caught them in a net and revealed their shame. 

1648. Half sunk. Half suppressed, a verb of which word is 
the object. 

1653. Had right of time to plead. Was able to plead the 
right of precedence in time, i.e., of having made her promise first. 

1657. Saturn. Father of Jupiter and eldest of the gods. 

Leaden throne. Lead was the planetary metal of Saturn. 

1664. Chaucer says : 

"Men may the olde at-renne [outrun], and noght at-rede 
[surpass in counsel]." 
Dryden evidently misinterpreted the line by translating at-rede 
as outride. His line does not make very good sense. 

1665. To Venus trined. Set at an angle of one hundred and 
twenty degrees with Venus ; another confusion of planets with 
deities. 

1666. Saturn was in the same sign of the zodiac (Capricorn) 
with Mars, and could therefore dispose of or overpower him " in his 
own abode" (see line 1667). This piece of astrological juggling 
is Dryden's, not Chaucer's. 

1673. Course. Orbit of the planet Saturn. 

1677-1678. Three of the signs of the zodiac were "watery," 
three " earthy," three fiery, and three airy. When " in a watery 
sign," Saturn brought about shipwrecks; when "in an earthy" 
sign, he ruled dark dungeons. 

1686. When Saturn is in the sign of the zodiac called the Lion. 

1 692-1 693. See Judges, xvi., 21-30. 

1 701. Arcite, the favorite of Mars, was to win the fight; but 
Palamon, the favorite of Venus, was to have his love. See line 1707. 

1702. Cronos. Greek name for Saturn. See note on line 1657. 

1751. Fair freckled king, etc. Emetrius. See lines 1339, 1352, 
1359- 

1752. Compare lines 1355— 1357. 



ii4 PALAMON AND ARCITE— Book III. 

1753. Eagle's beak. His aquiline nose. See line 1350, and 
the derivation of aquiline. 

1754. The black monarch. Lycurgus. See lines 1315-1316. 
1765. Cap-a-pe. Cap-a-pie, from head to foot. Derivation? 
1778. To abate or moderate the more deadly modes of battle. 
1787. At length. At the full length of the weapon. 

1789. Tough ash. Shaft of the spear. 

1792. At mischief . At disadvantage. 

1 794-1 795. Nor, captives made, etc. Nor, if made captives, 
shall they be freed, or being armed anew enter the fight again. 

1807. Earl-marshal. An officer in Great Britain charged 
with the superintendence of military ceremonials. The word is 
not in Chaucer. 

1835. Divides the plain. Takes his half of the field. 

1845. In stature sized. In stature equal-sized. 

19 1 5. Both. Palamon and Arcite. 

1918. He. Emetrius. 

1920. He. Palamon. 

1945. The rightful Titan. Cronos (see line 1702 and note), 
rightful lord of heaven and earth until his son Jupiter defeated him 
and usurped his kingdom (see next line). The Titans were mighty 
beings of Greek mythology, offspring of Uranus and Gaea, Heaven 
and Earth. 

1954. Blustering fool. Mars. 

1956. The arrears are yet to pay. The debt still due is yet 
to be paid, i.e., Venus's promise to Palamon. 

1975. Some readings of Chaucer have: 

"Out of the ground a furie infernal sterte." 
Others, which Dryden probably followed, h&vejire for furie. 

1976. Pluto. Sovereign of the lower world. 

2014. The victor owes his success to his having been born under 
more favorable stars. 



NOTES. 115 

2025. Impairs. Is impaired. 

2031. Breathing veins. Letting blood by opening veins. 

2048. Hardly. With difficulty. 

Against right. See lines 2082-2098, 282-351, and 737-771. 

2062. " Excuse my faltering tongue " from saying " how I have 
loved." 

2082. Sweet foe. His foe in that she had conquered his heart 
and been the (innocent) occasion of his death. 

2106. Each has often tried the vowed affection of the other. 

21 13. Below. In the lower part of Arcite's body. 

21 16. He. Arcite. 

2128. Heathens. The s is added to a word already plural. 

2133. Her lover. Arcite. 

2146. But Hector was not then. This was before Hector's 
time. Hector was the chief hero of Troy in the Trojan war, as 
related in Homer's Iliad. 

2153. .ffigeus. Father of Theseus. 

2174. Conscious. Aware of the events connected with it. 

2175. He. Arcite. See lines 800-819. 

21 81. Sere-wood. Searwood, wood dry enough for fuel. 
Doddered. Overgrown with dodder, a parasitic plant. 
2184. Vulcanian food. Food for the god of fire. See note on 
line 1596. 

2201. Palamon had vowed to cut off his locks at his friend's 
funeral. 

2202. As chief. As chief mourner. 

2216. Master-street. Principal street. 

2229. Parthian bow. Parthia, a country east of Asia Minor; 
the Parthians were famous bowmen. 

2236. Mother of the spear. The wood from which spear- 
shafts are made. 

2237. Mourner-yew. The yew appropriate to mourning. 



n6 PALAMON AND ARCITE — Book III. 

Builder-oak. The oak fit for building. 

2238. Swimming alder. So called because it grows in moist 
places. 

2242. With nameless Nymphs. As also shall the " nameless 
nymphs" (remain untold). 

Nymphs that lived in every tree. A familiar conception of 
Greek mythology. 

2243. Nor. Nor will I tell. 

Dryads. Wood-nymphs, inhabiting the trees. 
Woodland train. Company of woodland creatures. 

2244. Disherited. Disinherited, deprived of their natural 
habitations. 

2255. The maid. Emily. 

2300. The Cause and Spring of motion. The Creator. 

2303. Jarring seeds. Conflicting elements of nature, con- 
ceived of as containing the germs of all growth. 

2305. The common link. The universal bond of union. 

2313. Appointed destiny. Time appointed by destiny. 

2324. As our organs are. According to the capabilities of 
our organs. 

2326. The ethereal fire. The spiritual part. 

2339. Their fatal periods. The end of their existence. 

2349. Grudges the life of those from whom his own came. 

2352. Vegetive. Having unconscious life, like a plant. 

2353. Three souls. The conception is that man is made up of 
three different souls: the "vegetive," common to all life; the sensi- 
tive (that by which man "feels"), common to men and animals; 
the rational (by which man "reasons"), possessed by man alone. 
These souls arise in man one after another. See previous line. 

2354. Some thus. Some thus are " rich of three souls " and 
live to "waste" all three. 

But thousands more in flower of age. But thousands more 
die in the flower of their age, before they have attained all three 



NOTES. 117 

souls. Die must evidently be supplied to complete Dryden's 
thought; it is suggested by the context, but not expressed. 

2355. To run the latter stage. To live the life of the rational 
soul. 

2356. The first. The first stage, that of the " vegetive " soul. 
2373. Flower. Compare " flower of age," line 2354. 

2388. Vicissitude of joy. Change from sorrow to joy. 

2391. Two sorrows. Emily's sorrow and Palamon's. 

2401. Her fault. The fault of Fortune. 

2418. The conquest. Emily, the prize of the battle. 



Ii8 JOHN DRYDEN. 



JOHN DRYDEN. 

John DRYDEN was the principal literary figure of that period of 
English history which is known as the Age of the Restoration. 
The period begins with the year 1660, which witnessed the resto- 
ration of Charles II. to the English throne after the brief interval 
of Puritan rule under the Cromwells. No literary event could be 
more aptly chosen to mark its close than the death of Dryden in 
1700. The age witnessed a moral reaction from the stern severity 
of Puritanism, and made itself infamous as the gayest, loosest, most 
unbridled and licentious period in English history. Its life was 
reflected in its literature, which is as frivolous and immoral as it is 
brilliant. One great writer, the most original and powerful genius 
of the time, stands for the old Puritan rule of righteousness; but 
the voice of John Bunyan is as the voice of one crying in the 
wilderness. 

Dryden, a man of supreme talent rather than of great sponta- 
neous genius, was pre-eminently a man of his age. He reflected 
its gayety, its brilliance, its wit, its immorality; he reflected, also, 
those nobler and more serious elements of life which it did not 
utterly lack. He possessed, moreover, many noble qualities which 
raised him above the level of his age and made him worthy to rank 
with the great ones of our literature. Strength and solidity of mind, 
accuracy and comprehensiveness of scholarship, astonishing fluency 
and versatility, masterly skill as a literary workman, brilliant wit, 
keenness of discrimination and insight, an imagination vivid if not 
original, a poetic sense real if not profound, — these are some of the 
qualities which made Dryden great. Nothing about him is more 
impressive than the range of his literary work, unless it be its 
excellence in every kind. The literature of the age may be divided 
roughly into three groups, — drama, poetry, and miscellaneous prose. 
Dryden was, on the whole, the greatest dramatist of his time; others 
may have surpassed him in special lines, but he excelled all his 
contemporaries in the range, variety, and poetical power of his work. 



JOHN DRYDEN. 119 

As a poet, he was first without even a near rival. No one was his 
equal as an original poet; no one was his equal as a translator. 
In imaginative prose, he must yield the palm to Bunyan; but as 
a literary critic, and master of a thoroughly modern prose style, he 
was first in his own time, and still commands the respect of the 
student of literature. It will thus appear that in each of the great 
departments of literature in his own age his name must be placed 
in the first rank. 

Dryden is more, however, than the greatest figure in a com- 
paratively inferior literary period. He is one of the great poets of 
English literature. Though not of supreme stature, he is still one 
of the race of giants. A not unworthy successor of Milton, he hands 
on the tradition of great English poetry to Pope, through whom it 
passes to Gray, Cowper, Burns, Wordsworth, and Tennyson. 

Of the early part of Dryden's life we know comparatively little. 
Born at Aldwincle All Saints, Northamptonshire, August 9, 1631, 
he claimed, on both the father's and the mother's side, descent 
from the local gentry. His early home training was Puritanical. 
He attended Westminster School, and at the age of nineteen entered 
Trinity College, Cambridge. Here he took his B.A. degree in 1654, 
and probably remained for some time later in the University. 

From Cambridge, he went to London to enter upon his literary 
career. There he published, in 1659, his first important work, the 
Heroic Stanzas, on the death of Oliver Cromwell. The next year 
brought the Restoration; and Dryden, with a quick change of face, 
wrote his Astrcea Redux (Justice Returned), welcoming the return 
of Charles II. This desertion of the Puritan cause is not really so 
bad as it seems; for the simple fact is that Dryden was by nature 
a Royalist, and had always been but a lukewarm Puritan. 
V He was now fairly launched upon his literary career of forty 
years, in which he rose rapidly to the place of recognized pre- 
eminence among the writers of his age. His first drama was written 
in 1663, and it was in connection with the stage that he achieved 
the successes that firmly established his reputation. Drama, indeed, 
was the favorite literary form of the Restoration, and the age receives 
here its most characteristic expression. In 1667 Dryden published 



120 JOHN DRYDEN. 

his first long poem, Annus Mirabilis (The Wonderful Year, 1666), 
commemorating the victories at sea over the Dutch, and the great 
fire in London. He was also making his beginnings in prose, by 
means of critical prefaces to his dramas, and his Essay on the 
Historical Poem, introductory to the Annus Mirabilis. His most 
famous critical work, the Essay on Dramatic Poetry, was published 
separately in 1667. 

About this time Dryden ceased from poetry and turned his ener- 
gies entirely to dramatic writing. Up to 1681 he had written some 
twenty dramas. Many of these were prefaced by excellent critical 
essays upon various appropriate subjects. In 1670 he had been 
made poet-laureate and historiographer-royal. 

x In 1 68 1 Dryden forsook the drama, and did not return to it 
until late in his life. He had now reached the age of fifty years, 
and had not produced a single work which can be called a real 
masterpiece. He had, however, attained to a fine mastery of all 
the arts of literary expression, and was now ready for the great 
works of his life. In 1681 he began the most wonderful series of 
political verse satires in the English language, by the production of 
the first part of Absalom and Achitophel. In rapid succession fol- 
lowed The Medal (1682), Mac Flecknoe (1682), and the second 
part of Absalom and Achitophel (1682), most of the latter being 
written under Dryden's supervision by Nahum Tate. These works 
place Dryden with Pope and Swift in the first rank of English 
satirists. He now turned his thoughts to religion, and wrote, in 
1682, his Religio Laid, or A Layman's Faith, setting forth his ad- 
herence to the Church of England. In 1687, after the accession of 
James II., who was a Roman Catholic, Dryden celebrated his own 
conversion to Catholicism by writing The Hind and the Panther, a 
remarkable allegorical poem in which the hind represents the Roman 
Catholic Church, and the panther the Church of England. In this 
change of religion, Dryden cannot entirely escape the charge of 
self-interest; but, on the other hand, there is little doubt that it was 
in harmony with his own character and convictions. It is to be 
noted to his credit that upon the accession of the Protestant William 
of Orange in 1688, he remained steadfastly true to his new faith. 



JOHN DRYDEN. 



r2r 




Dryden's Monument in Westminster Abbey. 



(The tomb of Chaucer is just out of sight beyond the bust of Longfellow, to 
the right.) 



122 THE STUDY OF THE POEM. 

The Revolution of 1688, by which James II. was driven into 
exile, and Willianr and Mary were seated oh the English throne, 
was of profound importance to Dryden. He lost his positions as 
laureate and historiographer, together with all other aid and coun- 
tenance from the government. This reverse of fortune compelled 
him in his later years to the greatest activity of his life. He 
engaged first in translation from the classics, which was then popu- 
lar, his chief work in this kind being a translation of all of Virgil. 
In addition to this, he translated from Theocritus, Lucretius, Horace, 
Homer, Persius, Juvenal, Ovid, and Plutarch. What was more im- 
portant, he continued his noble work in lyric poetry, begun before 
the Revolution. His most notable lyrics are his Elegy on Anne 
Killigrezo (1686), his first Song for St. Cecilia's Day (1687), and 
his Alexander's Feast, or second song for St. Cecilia's Day (1697). 
Between 1690 and 1694, he wrote five more plays, thus closing his 
dramatic labors. In 1698, he began his Fables, and in March, 
1700, published Fables, Ancient and Modern, translated into Verse, 
from Homer, Ovid, Boccace, and Chaucer, with Original Poems by 
Mr. Dryden. In a fine Preface, he gives us his last piece of literary 
criticism. It is to this collection that Falamon and Arcite belongs. 
The Fables was Dryden's last book; for, on the 1st of May, 1700, 
just as he was approaching the limit of his threescore years and 
ten, he died in London. He was given a splendid public funeral, 
and was buried in the Poets' Corner of Westminster Abbey, only a 
few steps from the tomb of Chaucer. 



THE STUDY OF THE POEM. 

The first thing that a student should do with such a poem as this 
is to read it — read it closely and attentively, but with no thought 
of analysis, and with the simple purpose to understand the author's 
evident meaning, and to enjoy his story. To stop with a mere 
reading, or with a score of mere readings, in the case of any great 
literary work, is to stop short of the fullest understanding, the deep- 



THE STUDY OF THE POEM. 123 

est enjoyment, the most perfect appreciation. We must know a 
great poem through and through, if we are to~ gain all of the in- 
struction and delight and inspiration that it is possible for us to 
receive from it. To know it in this way, we must study it — .not 
merely for the purpose of gathering a collection of dry and probably 
meaningless facts, but in order to see something of the wonder and 
the beauty of its construction as an organic work of art. To appre- 
ciate the whole, we must understand the parts. Such study is 
always made, in one way or another, by every one who really appre- 
ciates a literary work. By the trained and disciplined mind, united 
with a cultivated literary taste, it is made almost unconsciously, so 
that even a rapid reading involves a process of analysis and compari- 
son. By the ordinary student, the same result must be attained by 
conscious and even mechanical effort. Let it be clearly understood 
that systematic study, however thorough and " scientific," can never 
supply the place of poetic taste and appreciation. To many stu- 
dents, who are comparatively lacking in imagination and in the 
sense of beauty, the inner glories of true poetry must remain a 
sealed book, although even such students need not go away alto- 
gether empty. It should also be emphasized, however, that system- 
atic study is not opposed to literary taste. Under the discipline of 
a study that is appropriate and judicious, an uneducated taste grows 
in refinement and in insight. If one has even a germ of poetic 
appreciation, it will develop in contact with fine poetic work, and 
under the influence of a study that leads it to discern between the 
good and the bad. An enthusiasm for literature is not necessarily a 
zeal without knowledge. 

How, then, should such a poem as this be studied ? There are 
many ways, and any that really leads to the desired ends of know- 
ledge, enjoyment, and appreciation is a good way. For the sake of 
definiteness, and because experience has shown that such a method 
does reach the desired ends, the following outline is presented. 1 
It is not meant to be so exhaustive as to supply the place of study 



1 Adapted from The Interpretation of Literature, by W. H. Craw- 
shaw. The Macmillan Company, New York. 



124 THE STUDY OF THE POEM. 

on the part of the student, but simply aims to suggest and illustrate. 
Let the student beware of supposing that such an outline is an end 
in itself. It is merely a means to an end; and after such an analysis 
as is here suggested, the student should return to the poem, to read 
it again as a whole with fuller knowledge and with larger ability 
to appreciate and enjoy. We dissect the rose that we may there- 
after have the more of wonder and delight as we look upon the 
perfect flower. Unlike the rose, the individual poem need not be 
ruined in the process of analysis; poetry is as indestructible as 
light, which the analyzing prism refracts into rainbow colors that 
may easily merge themselves again in the white radiance of pure 
sunlight. 

Systematic study of the poem may first consider the matter of 
Form, which may be treated under the three heads of Structure, 
Metre, and Style. 

Structure. 

The facts as to the formal structure or outward framework of 
the poem are briefly these: The poem is divided into three " books," 
containing respectively 610, 666, and 1150 lines; each book is 
divided into paragraphs. This is a matter of simple observation; 
its significance will appear when we come to study the substance of 
the poem. 

The paragraph is the common unit of literary structure; books, 
cantos, etc., are the familiar structural divisions of epic poetry. It 
may be noted here that Chaucer's Knightes Tale is divided into 
four books instead of three. 

Metre. 

The poem is written in the common measure of English heroic 
verse, the iambic pentameter. Iambic designates the character of 
the foot, which consists of two syllables with the stress on the 
second. Pentameter designates the length of the line, which con- 
tains five feet. The scansion of an iambic pentameter line may be 

indicated thus : 

X' I X' I X' [ X' I X' 



METRE. 125 

The following are good examples from the poem : 

Now high | as heaven, || and then | as low | as hell. 
Depart j from hence | in peace, || and free | as air. 

Notice in these and the following examples how variety of effect 
is produced by varying the position of the ccesural pause (indicated 
by two vertical lines). The common positions are after the second 
or the third foot, but the pause may occur almost anywhere in the 
line. 

Variety is also gained in numerous other ways. A master of 
metre can give almost unlimited variety to a measure without 
going so far as to lose its characteristic movement or tune. Some 
of these variations may be here indicated. 

(i) Variation in stress. Some stressed syllables are weaker 
than others, and some unstressed syllables are stronger than others 
(both cases indicated by v ) : 

The mas | ter-paint | ers, || and | the carv | ers came. 
The fool \ of love, || unprac | tised to | persuade. 

^ V ^ V V 

The rem | nant of | my tale || is of | a length. 
Some wore | coat ar | mour, || im | itat | ing scale. 

V. V s ^ * s 

And the | green grass || was dyed | to san | guine hue. 

V v >- V s s 

Than the | fair lil | y || on | the flow | ery green. 

These are only a few of the possible variations, but they will serve 
to illustrate some of the effects that may be produced. 

(2) Variations in feet. A trochaic foot ('X) sometimes takes 
the place of the regular iambic foot : 

Coursers | with cours | ers jost | ling, || men | with men. 
Love is I not in I our choice, II but in I our fate. 



126 THE STUDY OF THE POEM. 

At Thebes | he fell; || curst be | the fat | al day. 
Law is | to things || which to | free choice | belong. 
The balls | of his | broad eyes || rolled in | his head. 

The substitution of the trochaic foot is common in the first foot; 
in the next three feet, it is rare; in the last foot, it does not occur 
at all, since it would mar the rhyme. Two trochaic feet seldom 
occur together; more than two would spoil the iambic effect of the 
line. 

(3) Variation in number of syllables. The regular number of 
syllables in an iambic pentameter line is ten. There are sometimes 
more : 

The inev | ita | ble charms || of Em | ily. 
Proffering \ for hire || his ser | vice at | the gate. 

S* S* ^ S ^ 

The glit I tering fal | chions || cast | a gleam | ing light. 

>- S* S* S* ^ 

Menaced | his coun | tenance || even | in death | severe. 

y y y v y 

Like spark | ling stars, || though dif \ferent in\ degree. 

The sol I diers shout | around || with gen | erous rage. 

^ ^ ^ y ^ 

The Athen \ ian mon | arch || mounts [ his throne | on high. 

v y y y y 

And pass | ing through | the obse \ quious guards, || he sate. 
But, by I a long | descent, || the ether \ eal fire. 

The additional syllable may occur in any foot. Not more than 
one occurs in a single foot, and not more than two in any one line. 
The three syllables may be regarded as forming an anapaestic (XX'), 
or (see second example) a dactylic ('XX) foot; but usually the 
two unstressed syllables easily coalesce with each other, and may 
be pronounced almost as one. Chaucer very frequently adds an 
unstressed syllable to the end of his line : 



METRE. 127 

^ V -» ^ X 

And ther | fore at | the king | es court, || my brother. 

^ y ^ s* ^ 

X Ech I man for | himself, || ther is | non other. 

There is no example of this in Dryden's poem. Chaucer sometimes 
omits a syllable (see second line above) ; but Dryden has no line 
of less than ten syllables. 

(4) Variation in length of lines. The ordinary line of the poem 
is the iambic pentameter; but we find an occasional iambic hex- 
ameter or twelve-syllable line, sometimes called an Alexandrine : 

With clang | our rings | the field, || resounds | the vault | ed sky. 

Dryden uses this line with pleasure because of its characteristic 
effect. It does not occur in Chaucer's Knightes Tale. 

Rhyme. The rhyme system of the poem is very simple. It is 
based upon the so-called heroic couplet, which consists of iambic 
pentameter lines rhymed in pairs. Occasionally three lines are linked 
together by rhyme instead of two : 

" The sound of trumpets to the voice replied, 
And round the royal lists the heralds cried, — 
' Arcite of Thebes has won the beauteous bride ! ' " 

Sometimes the last line of the triplet is an Alexandrine : 

" For kings, and dukes, and barons, you might see, 
Like sparkling stars, though different in degree, 
All for the increase of arms, and love of chivalry." 

Dryden is careful in the matter of rhyme; and considering the 
length of the poem, the rhymes are as a whole unusually accurate. 
Xot infrequently, however, he takes such a liberty as this : 

" He paused awhile, stood silent in his mood; 
For yet his rage was boiling in his blood." 



128 THE STUDY OF THE POEM. 

This is an example of rhyme to the eye rather than to the ear. 
Occasionally a seeming inaccuracy of rhyme is due to a difference 
between Dryden's pronunciation and ours : 

" By fortune he was now to Venus trined, 

And with stern Mars in Capricorn was joined " (pronounced jined). 

Many instances may be found of what is known as beginning- 
rhyme, or alliteration, in which the initial sounds of different stressed 
syllables correspond : 

"Whate'er betides, by destiny 'tis tfbne; 
And better bzzx like men, than vainly seek to 5hun." 

Assonance, or correspondence of vowel sounds in stressed sylla- 
bles, is less common : 

" So fought the km'ghts, and fz'ghting must abe'de." 

The heroic couplet is interesting, apart from its relation to rhyme. 
In the hands of Dryden and Pope and their contemporaries, it 
became a refined but rather artificial form of verse. It is note- 
worthy for the extent to which it made sense pauses correspond 
with metrical pauses. As a rule, there must be a sense pause at 
the end of every couplet; and no sentence must close except at the 
end of a line. It also sought to avoid extra syllables. Dryden is 
somewhat freer than Pope in these particulars. 

The study of metre should be something more than the study 
of its mechanical elements. Metre has its relations to thought and 
feeling, and observation should be made as to the effects of metrical 
variations. The student will do well to observe other illustrations 
of the peculiarities noted above, to discover other peculiarities for 
himself, and to account so far as possible for their occurrence. In 
the hands of a master of verse, they seldom happen by accident. It 
is an excellent practice to take some striking passage, examine it 
thoroughly as to its metre and the peculiar effects produced. On 
the whole, Dryden's verse will appear dignified, sonorous, rhetorical, 
rather than delicate, subtle, or ethereal. 



STYLE. 129 



Style. 

For the study of style, any good rhetoric will afford many sug- 
gestions. A literary and especially a poetical style may be profitably 
studied as to four classes of qualities, viz., Intellectual, Emotional, 
Imaginative, and /Esthetic. 

Intellectual qualities. These are the ordinary qualities of any 
good style, such as correctness, clearness, and simplicity. Dryden 
is in the main correct and clear, though not always simple. To 
pick out specimens of incorrectness or obscurity would be a grace- 
less task. The student may be safely left to his own observation 
in the reading of the poem. 

Emotional qualities. Strength is the most noteworthy in this 
poem. An excellent example may be found in the description of 
the battle (lines 1 856-1 940), in which Dryden has been thought by 
some to surpass Chaucer. See page 139 for Chaucer's description. 

A good example of pathos is Arcite's dying speech (lines 2054- 
21 n). Pathos is not Dryden's forte, but there are several exam- 
ples in the poem. 

The ludicrous denotes the characteristic effect produced upon 
style by wit and humor. Dryden's style is often witty, though 
seldom humorous. This poem offers little opportunity for the dis- 
play of either wit or humor. Such a line as 

" For, wanting nourishment, he wanted tears," 

is sufficiently ludicrous; but it is at least doubtful whether Dryden 
himself is not entirely serious. The ludicrous quality in the style 
of the poem is confined to a few such doubtful cases. 

Imaginative qualities. The style of the poem is often very con- 
crete, i.e., the language distinctly conveys images or other imagina- 
tive effects to the reader. In the line 

"The glittering falchions cast a gleaming light," 

every important word embodies an image, and the effect of the 
whole is highly picturesque. In 

" With clangour rings the field, resounds the vaulted sky," 

K 



130 THE STUDY OF THE POEM. 

the words clangour, rings, resounds, almost make us hear the 
actual noise of battle. The whole description from which these 
lines are taken is full of similar illustrations. 

Language sometimes has the power to suggest what it cannot dis- 
tinctly convey. This quality of suggestiveness is less frequent in the 
poem. The following examples will serve to illustrate it in several 
aspects : 

"The mastership of Heaven in face and mind." 
" Prayers that even spoke, and pity seemed to call, 

And issuing sighs that smoked along the wall." 
" And all the mighty names by love undone." 
" Till sense was lost in sound, and silence fled the place." 

In each of these, the imagination is strongly appealed to, but there 
is somewhat less of concrete imagery. Concreteness is not lack- 
ing, but the imagination of the reader is also incited to supply much 
for itself. There is no hard and fast line between concreteness 
and suggestiveness; one merges insensibly into the other, and both 
exist together in most imaginative language. There is a clear dis- 
tinction, however, between the power of language to convey definite 
images and its power to imply things that cannot be expressed. Con- 
creteness is the common quality of imaginative speech; suggestive- 
ness appears most in language dealing with invisible and intangible 
things, and is a quality most marked in the most spiritual poets. 

sEsthetic qualities. The first is melody, the pleasing succession 
of sounds. Here, as well as in the next quality, metre and style 
unite indistinguishably to produce a common effect. This is simply 
saying that metrical language is likely to be more melodious and 
more harmonious than prose; but prose also possesses melody and 
harmony without the aid of metre. One among many illustrations 
of melody may be found in lines 191-200. 

Harmony appears in the following : 

" Loud as a trumpet, with a silver sound." 

" A rattling tempest through the branches went." 

" When hissing through the skies the feathered deaths were dealt." 



BEAUTY. 131 

Many longer passages, as for instance lines 1856-1940, will give 
fuller illustration. In such examples, the language will be found to 
harmonize with the sense intended to be conveyed. Harmony and 
melody often exist together, but not always. The following will 
illustrate harmony without much melody : 

" A cake of scurf lies baking on the ground." 

It is always fair to ask whether a style displays good taste. It is 
one of the highest refinements of style to be always in perfect keep- 
ing with the conditions and circumstances under which it is written 
and intended to be read. Dryden is not a model in this particular, 
although he is not open to any very serious charge in this poem. 
His astrological allusions are rather overdone, and they tend to 
make his style unnecessarily labored and remote from ordinary in- 
terest. See, for instance, lines 1 224-1 226. The last speech of 
Theseus is far from being appropriate to its occasion. Other illus- 
trations need not be specially urged, for they will present themselves 
readily enough. 

The study of the Form of the poem may be followed by some 
consideration of its Substance. This may be treated, with some 
degree of comprehensiveness, under the heads of Beauty, Imagina- 
tion, Emotion, and Thought, the four great elements which enter 
into the substance of all literature. 

Beauty. 

The presentation of the beautiful is the supreme object of a 
poem; and, unless we see and appreciate the beauty which it em- 
bodies, we have missed what is most vital and important. There 
is, as we have seen, beauty in the style; but there is richer and 
deeper beauty in the story, the characters, and the scenes. The 
student should feel, if possible, the noble beauty of the romantic 
story as a whole, its stateliness and vigor of movement, its epic 
largeness and freedom, its grand and exquisite conceptions, its out- 
come of mingled sorrow and joy. He will find illustrations of beau- 
tiful deeds and occurrences in such passages as those relating Pala- 



132 THE STUDY OF THE POEM. 

mon's falling in love with Emily (lines 207-236), or Arcite's dying 
surrender of Emily to Palamon (lines 2046-21 19). Let him con- 
sider what beauty of person or character there is in Palamon and 
Arcite and Emily and Theseus and Hippolyta. Beautiful descrip- 
tions, too, will claim his attention, such as that of Emily in the 
garden (lines 168-200) or of the amphitheatre of Theseus (lines 
1046-1270). All this may be followed, if one choose, down to the- 
smallest details of the poem, where beauty of substance passes into 
beauty of style. 

Most of the beauty of the poem is the beauty of the physical, 
the beauty of form and color; but beauty of a higher kind is abun- 
dant. The intellectual beauty displayed in the invention and con- 
struction of the story is worthy of admiration. The spiritual beauty 
of noble deeds and motives and impulses and attributes gives to the 
poem its most exalted charm. 

Beauty is enhanced by contrast, and the poem makes frequent 
use of this artistic principle. The quarrel of Palamon and Arcite 
(lines 282-357, etc.), the anger of Theseus (lines 859-918), much 
of the description of the scenes painted on the wall of the temple 
of Mars (lines 1 140-1226), will serve as illustrations. The student 
should observe how these unbeautiful features bring out all the 
more strongly the nobler emotions and more lovely scenes of the 
poem. Other examples may readily be found. 

Imagination. 

The imagination has here produced three principal classes of 
things : events, characters, objects. The events, as wrought out 
by the characters, form a connected plot. This, in a narrative work, 
is naturally the first thing to be considered. 

In the study of the plot, we shall do well to look first at the 
result or outcome. This is a simple matter; but it is important, 
because if we see the end toward which the author is working we 
shall be better able to appreciate his management of the narrative. 
The result here is the death of Arcite and the happy marriage of 
Palamon and Emily. 



IMAGINATION. 133 

We may then consider the development of the plot. This may 
be done as follows: (1) Make an outline indicating the various 
stages of the narrative. These are usually marked by the structural 
divisions, which here consist of books and paragraphs (see observa- 
tions on Structure, p. 124). (2) Observe whether there are different 
threads of interest; note what these are and how they are related 
to each other. (3) Note the means by which the author deter- 
mines the movement of the plot. These matters may be illustrated 
by an outline of the development of the plot through Book I. The 
student may work out the rest for himself. 

Outline of the Plot. 

I. — The love of Palamon and Arcite for Emily (Book I.). 

A (Introductory). — Theseus' conquest of Thebes (1-140). 

1. Return of Theseus with Hippolyta and Emily (1-33). 

2. Complaint of the mourning dames (34-92). 

3. Expedition of Theseus against Thebes (93-140). 
B. — The captivity of Palamon and Arcite (141-357). 

1. Capture and imprisonment of the two knights (141- 

167). 

2. Their falling in love with Emily (168-281). 

3. Their quarrel (282-357). 

C. — The freedom of Arcite (358-610). 

1. Arcite's release and sorrow 



2. Jealous anguish of Palamon 
(442-501). 



(358-441). 



;. Wretched life of Arcite at 

Thebes (502-542). 
.. His return to Athens (543- 

580). 
. His prosperous life at the 
Athenian court (581-610). 
II. — The conflict of the rivals and award of Theseus (Book II.). 
III. — The tournament and its result (Book III.). 



134 THE STUDY OF THE POEM. 

Such an outline can, of course, be carried into greater detail if 
desired. It will probably be sufficient for the student to outline the 
rest of the plot on the same plan. 

At the point where Arcite regains his freedom, the plot divides 
into two threads of interest, one concerned with the adventures of 
Palamon and the other with those of Arcite. This division is indi- 
cated in the outline by the vertical line. These threads unite again 
in Book II., where the knights meet again. The student may 
observe for himself whether there is any similar division in the last 
two books. 

The real story begins with the imprisonment of Palamon and 
Arcite. The effective means of bringing about this necessary situa- 
tion is the introduction of the mourning dames, with their appeal 
to Theseus, and the consequent war against Thebes. The story 
continues in the direction thus established, until the time of Arcite's 
release from prison. Here it is given a new turn ; and this is 
brought about by the introduction of Pirithous. The next turn 
comes when Arcite returns to Athens. This might have happened 
naturally enough through the simple resolve of Arcite; but the 
author of the story has chosen to introduce an outward cause for it 
in the dream and appearance of Hermes. It will usually be found 
that every turn in a story is thus accounted for; the narrative seems 
more natural when we are allowed to see its moving impulses, and 
impresses us as artificial when events are simply made to happen 
without adequate causes. It will be observed in the last instance 
that the effective means is supernatural. There are several such 
instances in the rest of the poem. The narrative is perfectly direct 
in movement throughout the rest of Book I. 

The characters present an interesting and instructive study. 
They are of two general classes, — human beings and supernatural 
beings. Characters are to be studied by observing what they say 
and do, what others say and do in relation to them, and what the 
author himself says of them. Nothing short of all the evidence in 
the poem will be fully satisfactory. None of the human beings of 
the poem are great character creations, but they are sufficiently 
lifelike to arouse and sustain our interest in them and their fate. 



IMAGINATION. 135 

Of the important characters, Emily is must lightly sketched, and 
her characteristics may be rapidly traced from the description of her 
in the garden (lines 180-200) to her shy acceptance of Palamon, 
and their marriage full of "mutual truth believed" (lines 241 1- 
2422). A comparison between Palamon and Arcite will afford the 
fullest character study in the poem. Though apparently much 
alike, closer study will show that each has a well-defined personality. 
It hardly seems necessary to illustrate this study here; the student 
may readily trace the evidence for himself. The supernatural 
beings may be studied in much the same way as the human actors, 
though they will not be found so fully portrayed. 

The descriptions of objects in the poem are among its most inter- 
esting features. These should be carefully studied until we have 
before us a distinct picture, in all its details, of the object described. 
Good examples for study are the descriptions of the amphitheatre 
with its three temples (lines 1050-1276), and of the battle between 
the two troops of knights (lines 1856-1940). Others may easily 
be found. 

Imagination must always construct its fabric out of real things; 
and it is significant to ask how much in any imaginative work is 
real, and how much is ideal. There is very little of reality in this 
poem except what is drawn from general knowledge of man and 
nature. It has a real local setting for its events in the cities of 
Athens and Thebes, but very little is made of this. Historical 
basis, it has none that could now be discovered. The poem is a 
fabric of romantic dreams. Highly imaginative as it is, however, it 
cannot be called a striking illustration of Dryden's imaginative 
power. He has borrowed his materials, not from reality, indeed, 
but from another poet. There is much imagination in the poem, 
but it is not his. It belongs to Chaucer, or to the older writers 
through whom the story came down to Chaucer's hand. We shall 
see the true measure of Dryden's imaginative work by comparing 
Palamon and Arcite with Chaucer's Knightes Tale, and observing 
how much Dryden has added of his own. This is by no means 
inconsiderable, though vastly short of the whole. Such a compari- 
son is well worth the effort of the ambitious student. The Knightes 



136 THE STUDY OF THE POEM. 

Tale is the greater poem of the two; and a comparison of the 
work of two such poets upon the same theme is highly instructive. 
Chaucer's language is somewhat remote, but not very difficult to 
master. It is worth while to note that Chaucer divides the poem 
into four books, corresponding to the following lines of Dryden's 
poem: 1-5 17, 518-1045, 1046-1703, 1704-2426. In studying the 
outline of the plot, the student may profitably compare these two 
methods of division, and judge for himself which is the better. 
More will be said later as to the comparison between the two poets 
and poems (see pp. 137-142). 

Emotion. 

The dominant emotion of the poem is undoubtedly love. Let 
the student observe and compare the various passages in which it 
is expressed or represented. Other emotions are friendship, jeal- 
ousy, grief, anger, despair, pity, fear, courage, etc. These should 
be observed in the same way, and in as great detail as possible. It 
is important to note the relation between emotions, as, for instance, 
between love and friendship, love and anger, love and courage, etc. 
Also to note the causes and effects of emotions, as the causes of 
despair, the effects of love, etc. This is both a study in human pas- 
sions, and a study of the poet's manner of expressing them. The 
suggestions here given are only general. An actual examination of 
the poem will reveal many interesting and suggestive details. 

Thought. 

It is not desirable, if it were possible, to reduce every poem to 
a formal proposition. A poem, however, has a meaning hidden 
behind its story or its pictures; and this meaning it is important 
that we should perceive. The main thought of this poem is suffi- 
ciently obvious. It has to do with the relation between friendship 
and love, and suggests a conclusion as to their comparative power 
over the human heart. Let the student decide for himself what 
this conclusion is. The thought involves an antithesis; and we 
may trace separately the poet's views on friendship and on love. 



DRVDEN AND CHAUCER. 137 

Still further analysis may be pursued, though the thought is too 
plain and obvious to need detailed examination. The poem, of 
course, presents many minor thoughts of greater or less importance. 
These may be observed and dwelt upon as the poem is read and 
re-read. The smaller details of the thought are usually clear and 
obvious, and where they present any difficulty are touched upon in 
the notes. 



DRYDEN AND CHAUCER. 

Chaucer, the first great English poet, died in the year 1400, 
exactly three centuries before the death of Dryden, leaving behind 
him a body of poetry which has given him rank among the few 
supreme poets of the language. Dryden calls him " the father of 
English poetry," and no one disputes his right to that title. His 
masterpiece is The Canterbury Tales, one of the great poetical 
treasures of the world. In the famous Prologue, the supreme exhi- 
bition of his powers, he introduces and severally describes a com- 
pany of some twenty-nine pilgrims gathered at the Tabard Inn in 
London, ready to set out on their pilgrimage to the shrine of .St. 
Thomas a Becket in the Cathedral at Canterbury. In order to 
beguile the journey, they agree that each shall tell two tales on the 
way to Canterbury and two on the way home. The one who tells 
the best story is to have a supper at the cost of the rest on their 
return to the inn. Of the whole number of tales planned, we have 
less than one-fourth. As the pilgrims start out on their journey in 
the morning, the first story is told by the Knight, chief in impor- 
tance of the company. It is called, therefore, The Knightes Tale, 
and is the poem which Dryden has reproduced as Palauion and 
A r cite. 

The story is not original with Chaucer. The legend of Theseus 
was a favorite one from an early period of the Middle Ages, and 
the story of Palamon and Arcite was probably joined with it at an 
early date. Both together form a romance of medieval chivalry 



138 DRYDEN AND CHAUCER. 

placed in an ancient setting; and the story is therefore full of 
curious anachronisms. Boccaccio reproduced it in his Teseide, an 
epic poem of some ten thousand lines arranged in twelve Books. 
Here the wars of Theseus are related with some fulness. The 
main outlines of the story of Palamon and Arcite are substantially 
the same as in our poem, though there are many more details. 
The Teseide seems to have been the direct source of The Knightes 
Tale. Numerous details were also taken from the Thebaid of Sta- 
tius (see line 1488 and note). The Knightes Tale is by no means 
a mere translation of the Teseide. Boccaccio's ten thousand lines 
are reduced to 2250, and Chaucer has shown his constructive skill 
as a narrator in making a compact and orderly narrative, full of 
life and movement. The outline of the story, the raw materials 
of the poem, he has borrowed; but he has transmuted baser metal 
into gold and has enriched the tale with the splendors of his own 
great imagination. 

Dryden, too, is far from lacking in all claims to original work- 
manship. He has added little to Chaucer's story, and has hardly 
anywhere surpassed his original; but many details are his, and the 
form of expression bears clearly the stamp of his genius. There 
are numerous omissions, but Dryden's greater fulness of expression, 
especially in his descriptions, has more than made up for these. 
The story and the characters are in all essential particulars the 
same as Chaucer's. In many cases, he uses almost the exact lan- 
guage of the original, though as a rule he runs the narrative freely 
into his own forms of speech. Palamon and Arcite is something 
more than a translation. It is perhaps something less than an 
imitation. Freer than the one and closer than the other, it has the 
character of a free reproduction in the English of the seventeenth 
century of a poem originally written in the English of the fourteenth. 

It may not be out of place to say a few words further about the 
language of the two poems. The speech of Dryden is substantially 
the speech of our own time. While the scholar can easily recognize 
many seventeenth century characteristics, the poem is nearly as 
intelligible to the modern reader as if it had been written yesterday. 
Chaucer is much more remote. Though modern study of his poetry 



DRYDEN AND CHAUCER. 139 

has made him practically nearer to us than he was to Dryden, yet 
we still require something of preparation to enable us to understand 
his language. It would be out of place here to enter into any 
extended discussion of its peculiarities; but a brief passage from 
The Knightes Tale may enable the student to make some compari- 
son for himself. The passage is from the description of the battle 
for Emily, "the beauteous bride" {The Knightes Tale, 1741-1801; 
compare Palamon and Ar cite, 1854-1940) : 

"The heraudes lefte hir priking up and doun; 
Now ringen trompes loude and clarioun; 
Ther is namore to seyn, but west and est 
In goon the speres ful sadly in arest; 
In goth the sharpe spore in-to the syde. 
Ther seen men who can Iuste, and who can rvde; 
Ther shiveren shaftes up-on sheeldes thikke; 
He feleth thurgh the herte-spoon the prikke. 
Up springen speres twenty foot on highte; 
Out goon the swerdes as the silver brighte. 
The helmes they to-hewen and to-shrede; 
Out brest the blood, with sterne stremes rede. 
With mighty maces the bones they to-breste. 
He thurgh the thikkeste of the throng gan threste. 
Ther stomblen steedes stronge, and doun goth al. 
He rolleth under foot as dooth a bal. 
He foyneth on his feet with his tronchoun, 
And he him hurtleth with his hors adoun. 
He thurgh the body is hurt, and sithen y-take, 
Maugree his heed, and broght un-to the stake, 
As forward was, right ther he moste abyde; 
Another lad is on that other syde. 
And som tyme dooth hem Theseus to reste, 
Hem to refresshe, and drinken if hem leste. 
Ful ofte a-day han thise Thebanes two 
Togidre y-met, and wroght his felawe wo; 
Unhorsed hath ech other of hem tweye. 



Ho DRVDEN AND CHAUCER. 

Ther nas no tygre in the vale of Galgopheye, 
Whan that hir whelp is stole, whan it is lyte, 
So cruel on the hunte, as is Arcite 
For Ielous herte upon this Palamoun : 
Ne in Belmarye ther nis so fel leoun, 
That hunted is, or for his hunger wood, 
Ne of his praye desireth so the blood, 
As Palamon to sleen his fo Arcite. 
The Ielous strokes on hir helmes byte; 
Out renneth blood on bothe hir sydes rede. 

Som tyme an ende ther is of every dede; 
For er the sonne un-to the reste wente, 
The stronge king Emetreus gan hente 
This Palamon, as he faught with Arcite, 
And made his swerd depe in his flesh to byte; 
And by the force of twenty is he take 
Unyolden, and y-drawe unto the stake. 
And in the rescous of this Palamoun 
The stronge king Ligurge is born adoun ; 
And king Emetreus, for al his strengthe, 
Is born out of his sadel a swerdes lengthe, 
So hitte him Palamon er he were take; 
But al for noght, he was broght to the stake. 
His hardy herte mighte him helpe naught; 
He moste abyde, whan that he was caught, 
By force, and eek by composicioun. 

Who sorweth now but woful Palamoun, 
That moot namore goon agayn to fighte? 
And whan that Theseus had seyn this sighte, 
Un-to the folk that foghten thus echoon 
He cryde, ' Ho ! namore, for it is doon ! 
I wol be trewe luge, and no partye. 
Arcite of Thebes shal have Emelye, 
That by his fortune hath hir faire y-wonne.' " 



DRYDEN AND CHAUCER. 141 

It will be seen that Chaucer's metre is like Dryden's, to the extent 
that he writes in iambic pentameter lines rhymed in pairs; but it is 
decidedly different in its effect. To one familiar with Chaucer's 
pronunciation, it has a smoother and sweeter flow. It is more free 
in running over the sense from one line and couplet to another, is 
not so careful to make sense pauses and metrical pauses coincide. 
Other points of comparison have been suggested in our study of 
metre. All of the differences can be illustrated only in a longer 
passage. This passage will also illustrate the free manner in which 
Dryden handles his original, and will enable the student to make 
some slight judgment as to the poetical quality of the two authors. 
Perhaps no passage could be chosen on which a comparison would 
be more favorable to Dryden. Chaucer's description is excellent, 
but hardly does justice to his greatest powers, while in the corre- 
sponding passage of Palamon and Arcite, Dryden is at his best. 

This is not the place for a full comparison of the two poems. 
Indeed, such a comparison would be useless unless the student 
were familiar with The Knightes Tale as well as with Palamon and 
Arcite ; and when he possesses such a familiarity, he will be in a 
position to make the comparison for himself. It is much to be 
desired that Chaucer's poem should be read; and with modern 
facilities at hand, sufficient knowledge for such a reading may be 
acquired without great difficulty. Morris and Skeat's Clarendon 
Press edition of the Prologue, The Knightes Tale, etc., may be 
recommended for such a purpose. 

Any comparison between the two poets must result decidedly in 
Chaucer's favor. He is in the first rank of English poets; Dryden 
is at best but a leader in the second rank. As a narrator, Chaucer 
has more of compactness, more of unity, more of vigor and move- 
ment, though Dryden also is a story-teller of no mean order and 
possesses the necessary qualifications in his own degree. In dra- 
matic power, Chaucer has few equals, and Dryden, skilful drama- 
tist though he was, is not one of them. Chaucer's superiority in 
this particular appears chiefly in his Prologue, but The Knightes 
Tale will also serve in many ways to vindicate it. Chaucer, though 
a great borrower, is one of the most original of poets; he possesses 



142 DRYDEN AND CHAUCER. 

a poetic imagination that is in a high degree creative. Dryden's 
forte is not originality, is not imaginative creation; he is rather a 
consummate literary workman who can shape into artistic form 
almost any materials that are provided for him. He waits for other 
men, even inferior men, to show him the way, and then none is 
more apt to "better the example." Of all our poets, none is more 
spontaneous, more naive, more natural than Chaucer; his poetry, 
more than that of Spenser or Sidney, deserves Whittier's exquisite 
phrase, " sprinkling our noon of time with freshest morning dew." 
Dryden lived in an artificial age, and is surpassed by Pope alone 
as a " classic " poet. Chaucer's is the poetry of our literary dawn, 
natural, spontaneous, original, free; Dryden's is the poetry of an 
age of prose. Chaucer is a lark; Dryden, a mocking-bird. Chau- 
cer's is poetry of feeling; Dryden's, poetry of intelligence. Chaucer 
is a humorist; Dryden is a " wit." Such a parallel suggests in a 
general way the differences between the two poets. It is not in- 
tended to be more than a simple outline; and that is all that is 
likely to be of much service in the present connection. 

The student will be interested to compare with the poems of 
Chaucer and Dryden a dramatic version of the story of Palamon 
and Arcite. This is to be found in The Two Noble Kinsmen, an 
Elizabethan play. It was chiefly written by Fletcher, one of the 
greatest of the Elizabethan dramatists, and Shakespeare is com- 
monly supposed to have worked with him. It may be found in 
Rolfe's edition of Shakespeare, in the Temple Dramatists, and in 
Thayer's Best Elizabethan Plays. 

Dryden's Views on Chaucer. 

In his Preface to the Fables, Dryden enters into an extended 
discussion of Homer, Ovid, Chaucer, and Boccaccio, the authors 
from whom the Fables are translated. His opinions concerning 
Chaucer will be of especial interest here, and all the more so 
because Dryden was the greatest literary critic of his clay. The 
whole Preface is well worth reading, but it is too long to be repro- 
duced here. The following quotations contain practically all of 



DRYDEN'S VIEWS ON CHAUCER. 143 

literary importance on Chaucer which can be readily separated 
from the discussion of other matters : 

" In the first place, as he is the father of English poetry, so I 
hold him in the same degree of veneration as the Grecians held 
Homer, or the Romans Virgil. He is a perpetual fountain of good 
sense; learned in all sciences; and, therefore, speaks properly on 
all subjects. As he knew what to say, so he knows also when 
to leave off; a continence which is practised by few writers, and 
scarcely by any of the ancients, excepting Virgil and Horace." 

" Chaucer followed nature everywhere, but was never so bold to 
go beyond her; and there is a great difference of being poeta and 
nimis poeta, if we may believe Catullus, as much as betwixt a modest 
behaviour and affectation. The verse of Chaucer, I confess, is not 
harmonious to us; but it is like the eloquence of one whom Tacitus 
commends; it was auribus istius temporis accommodata. They who 
lived with him, and some time after him, thought it musical; and it 
continues so, even in our judgment, if compared with the numbers 
of Lidgate and Gower, his contemporaries: — there is the rude 
sweetness of a Scotch tune in it, which is natural and pleasing, 
though not perfect. It is true, I cannot go so far as he who pub- 
lished the last edition of him; for he would make us believe the 
fault is in our ears, and that there were really ten syllables in 
a verse where we find but nine : but this opinion is not worth 
confuting; it is so gross and obvious an error, that common sense 
(which is a rule in everything but matters of faith and revelation) 
must convince the reader, that equality of numbers, in every verse 
which we call heroic, was either not known, or not always practised, 
in Chaucer's age. It were an easy matter to produce some thousands 
of his verses, which are lame for want of half a foot, and sometimes 
a whole one, and which no pronunciation can make otherwise. 
We can only say, that he lived in the infancy of our poetry, and 
that nothing is brought to perfection at the first. We must be 
children before we grow men. There was an Ennius, and in process 
of time a Lucilius, and a Lucretius, before Virgil and Horace; even 



144 DRYDEN AND CHAUCER. 

after Chaucer there was a Spenser, a Harrington, a Fairfax, before 
Waller and Denham were in being; and our numbers were in their 
nonage till these last appeared." 

Here follows a passage on Chaucer's life and religion. 

" He must have been a man of most wonderful comprehensive 
nature, because, as it has been truly observed of him, he has taken 
into the compass of his Canterbury Tales the various manners and 
humours (as we now call them) of the whole English nation, in his 
age. Not a single character has escaped him. All his pilgrims 
are severally distinguished from each other; and not only in their 
inclinations, but in their very physiognomies and persons. Baptista 
Porta could not have described their natures better, than by the 
marks which the poet gives them. The matter and manner of their 
tales, and of their telling, are so suited to their different educations, 
humours, and callings, that each of them would be improper in any 
other mouth. Even the grave and serious characters are distin- 
guished by their several sorts of gravity : their discourses are such 
as belong to their age, their calling, and their breeding; such as 
are becoming of them, and of them only. Some of his persons are 
vicious, and some virtuous; some are unlearned, or (as Chaucer 
calls them) lewd, and some are learned. Even the ribaldry of the 
low characters is different : the Reeve, the Miller, and the Cook, are 
several men, and distinguished from each other as much as the 
mincing Lady-Prioress and the broad-speaking, gap-toothed Wife of 
Bath. But enough of this; there is such a variety of game springing 
up before me, that I am distracted in my choice, and know not which 
to follow. It is sufficient to say, according to the proverb, that here 
is God's plenty. We have our forefathers and great-grand-dames 
all before us, as they were in Chaucer's days : their general char- 
acters are still remaining in mankind, and even in England, though 
they are called by other names than those of monks, and friars, 
and canons, and lady-abbesses, and nuns; for mankind is ever the 
same, and nothing lost out of nature, though everything is altered. 
May I have leave to do myself the justice (since my enemies will 
do me none, and are so far from granting me to be a good poet, 



DRYDENS VIEWS ON CHAUCER. 145 

that they will not allow me so much as to be a Christian, or a moral 
man), may I have leave, I say, to inform my reader, that I have 
confined my choice to such tales of Chaucer as savour nothing of 
immodesty. If I had desired more to please than to instruct, the 
Reeve, the Miller, the Shipman, the Merchant, the Sumner, and, 
above all, the Wife of Bath, in the prologue to her tale, would have 
procured me as many friends and readers, as there are beaux and 
ladies of pleasure in the town. But I will no more offend against 
good manners. I am sensible, as I ought to be, of the scandal 1 
have given by my loose writings; and make what reparation I am 
able, by this public acknowledgment. If anything of this nature, 
or of profaneness, be crept into these poems, I am so far from 
defending it, that I disown it, totum hoc indie turn volo. Chaucer 
makes another manner of apology for his broad speaking, and 
Boccace makes the like; but I will follow neither of them. Our 
countryman, in the end of his characters, before the Canterbury 
Tales, thus excuses the ribaldry, which is very gross in many of his 
novels : 

" ' But firste, 1 praie you of your curtesie, 
That ye ne arette it not my vilanie, 
Though that I plainly speke in this matere 
To tellen you hir wordes, and hir chere : 
Ne though I speke hir wordes proprely, 
For this ye knowen al so well as I, 
Who so shall telle a tale after a man, 
He moste reherse as neighe as ever he can : 
Everich word, if it be in his charge, 
All speke he, never so rudely and so large : 
Or elles he moste tellen his tale untrewe, 
Or feinen thinges, or finden wordes newe : 
He may not spare, although he were his brother, 
He moste as wel sayn o word as an other. 
Crist spake himself ful brode in holy writ, 
And wel ye wote no vilanie is it, 
Eke Plato sayeth, who sa can him rede, 
The wordes moste ben cosin to the dede.' " 



146 DRYDEN AND CHAUCER. 

" I have almost done with Chaucer, when I have answered some 
objections relating to my present work. I find some people are 
offended that I have turned these tales into modern English; be- 
cause they think them unworthy of my pains, and look on Chaucer 
as a dry, old-fashioned wit, not worthy reviving. I have often 
heard the late Earl of Leicester say, that Mr. Cowley himself was 
of that opinion; who, having read him over at my lord's request, 
declared he had no taste of him. I dare not advance my opinion 
against the judgment of so great an author; but I think it fair, 
however, to leave the decision to the public. Mr. Cowley was too 
modest to set up for a dictator; and being shocked perhaps with 
his old style, never examined into the depth of his good sense. 
Chaucer, I confess, is a rough diamond, and must first be polished, 
ere he shines. I deny not likewise, that, living in our early days 
of poetry, he writes not always of a piece; but sometimes mingles 
trivial things with those of greater moment. Sometimes also, though 
not often, he runs riot, like Ovid, and knows not when he has said 
enough. But there are more great wits besides Chaucer, whose 
fault is their excess of conceits, and those ill sorted. An author is 
not to write all he can, but only all he ought. Having observed 
this redundancy in Chaucer (as it is an easy matter for a man of ordi- 
nary parts to find fault in one of greater), I have not tied myself to 
literal translation ; but have often omitted what I judged unneces- 
sary, or not of dignity enough to appear in the company of better 
thoughts. I have presumed further, in some places, and added 
somewhat of my own where I thought my author was deficient, 
and had not given his thoughts their true lustre, for want of words 
in the beginning of our language. And to this I was the more 
emboldened, because (if I may be permitted to say it of myself) I 
found I had a soul congenial to his, and that I had been conversant 
in the same studies. Another poet, in another age, may take the 
same liberty with my writings; if at least they live long enough to 
deserve correction." 

" But there are other judges who think I ought not to have 
translated Chaucer into English, out of a quite contrary notion: 



DRYDEN'S VIEWS ON CHAUCER. 147 

they suppose there is a certain veneration due to his old language ; 
and that it is little less than profanation and sacrilege to alter it. 
They are further of opinion, that somewhat of his good sense will 
suffer in this transfusion, and much of the beauty of his thoughts 
will infallibly be lost, which appear with more grace in their old 
habit. Of this opinion was that excellent person whom I mentioned, 
the late Earl of Leicester, who valued Chaucer as much as Mr. 
Cowley despised him. My lord dissuaded me from this attempt 
(for I was thinking of it some years before his death), and his 
authority prevailed so far with me, as to defer my undertaking while 
he lived, in deference to him : yet my reason was not convinced 
with what he urged against it. If the first end of a writer be to be 
understood, then, as his language grows obsolete, his thoughts must 
grow obscure : 

" ' Multa renascentur, quae nunc cecidere; cadentque 
Quae nunc sunt in honore vocabula, si volet usus, 
Quern penes arbitrium est et jus et norma loquendi.' 

" When an ancient word, for its sound and significancy, deserves 
to be revived, I have that reasonable veneration for antiquity to 
restore it. All beyond this is superstition. Words are not like 
landmarks, so sacred as never to be removed; customs are changed, 
and even statutes are silently repealed, when the reason ceases for 
which they were enacted. As for the other part of the argument, 
— that his thoughts will lose of their original beauty by the inno- 
vation of words, — in the first place, not only their beauty, but their 
being is lost, where they are no longer understood, which is the 
present case. I grant that something must be lost in all transfu- 
sion, that is, in all translations; but the sense will remain, which 
would otherwise be lost, or at least be maimed, when it is scarce 
intelligible, and that but to a few. How few are there, who can 
read Chaucer, so as to understand him perfectly? And if imper- 
fectly, then with less profit, and no pleasure. It is not for the use 
of some old Saxon friends, that I have taken these pains with him : 
let them neglect my version, because they have no need of it. I 



148 URYDEN AND CHAUCER. 

made it for their sakes, who understand sense and poetry as well as 
they, when that poetry and sense is put into words which they 
understand. I will go further, and dare to add, that what beauties I 
lose in some places, I give to others which had them not originally : 
but in this I may be partial to myself; let the reader judge, and I 
submit to his decision. Vet I think I have just occasion to com- 
plain of them, who, because they understand Chaucer, would 
deprive the greater part of their countrymen of the same advan- 
tage, and hoard him up, as misers do their grandam gold, only to 
look on it themselves, and hinder others from making use of it. In 
sum, I seriously protest, that no man ever had, or can have, a 
greater veneration for Chaucer than myself. I have translated 
some part of his works, only that I might perpetuate his memory, 
or at least refresh it, amongst my countrymen. If I have altered 
him anywhere for the better, I must at the same time acknowledge, 
that I could have clone nothing without him. Facile est inventis 
adder e is no great commendation; and I am not so vain to think 
I have deserved a greater." 

" I prefer, in our countryman, far above all his other stories, the 
noble poem of Pa /am on and Ar cite, which is of the epic kind, and 
perhaps not much inferior to the Ilias, or the sEneis. The story is 
more pleasing than either of them, the manners as perfect, the 
diction as poetical, the learning as deep and various, and the dis- 
position full as artful, only it includes a greater length of time, as 
taking up seven years at least : but Aristotle has left undecided the 
duration of the action, which yet is easily reduced into the compass 
of a year, by a narration of what preceded the return of Palamon 
to Athens. I had thought, for the honour of our narration, and 
more particularly for his, whose laurel, though unworthy, I have 
worn after him, that this story was of English growth, and Chaucer's 
own: but I was undeceived by Boccace; for, casually looking on 
the end of his seventh Giornata, I found Dioneo (under which 
name he shadows himself), and Fiametta (who represents his mis- 
tress, the natural daughter of Robert, King of Naples), of whom 
these words are spoken : — ' Dioneo e Famietta gran pezza canta- 



DRYDEN'S VIEWS ON CHAUCER. 149 

rono insieme d' Arcita, e di Palemone;' by which it appears, that 
this story was written before the time of Boccace; but the name 
of its author being wholly lost, Chaucer is now become an original; 
and I question not but the poem has received many beauties, by 
passing through his noble hands." 



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